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SPECIAL  EDITIO 


PRINTED  TO  COMMEMORATE  A  MEETING 


of  the 


held  on 

FRIDAY,   FEBRUARY  SEVENTH 

NINETEEN  HUNDRED  AND  THIRTEEN 

AT   8.15   P.  M. 


through  the  courtesy  of  the 

JOAN  OF  ARC  STATUE  COMMITTEE 

for  a  Statue  of  Joan  of  Arc  in  the  City  of  New  York 


in  the 

AMERICAN  NUMISMATIC  SOCIETY  BUILDING 

between  155th  and  156th  Streets 
New  York 


OFFICERS 


OF    THU 


National  &atlptur? 


Ijonnrarg  flrnnbrnt 

DANIEL  CHESTER  FRENCH 


HERBERT  ADAMS 


JFtrst  Ut 

DONN   BARBER 


SOLON   H.  BORGLUM 


I.  WYMAN   DRUMMONU 


SHERRY  E.   FRY 


JOAX  OF  ARC 
From  engraving  by  N.  Le  Mire,   after  painting  in  Hotel  de   Yille,  Orleans 


Vork 

n 


Joan  of  Arc 

Loan  Exhibition 
Catalogue 


,    -^ictures,  Medals,  Coins, 
Statuary,    Books,       orcelains, 
Manuscripts,  Curios,     tc. 

Under  the   Auspice*   of 

'  ke    ;  can  of    Arc  btatue  Committee 

(For  a  Statue  of  Joan  of  Arc  in  the  City  of  New  York)  .    ' 

Tke  Museum  of  FrencL  Art 
French  Institute  in  the  United  States 

Tke  American  Numismatic  Society 


The  American  Numismatic  Society  Bu 

Broadway,    between    155tn    and    156tn    Streets 
New  York  City 

January  6tK  to  February  8tli,  1913 


Joan  of  Arc  Statue  Committee 

For  a  Statue  in  the  City  of  New  York 


HONORARY  PRESIDENT 
J.  Sanrord  Saltus 

PRESIDENT 
Dr.  George  Frederick  K.unz 

President  American  Scenic  and  Historic  Preservation  Society 

HONORARY  VICE-PRESIDENTS 

Gabriel  Hanotaux 
Pierre  Loti 

Memkres  de  1" Academic  Franfaiee 


MEMBERS 


J.W.  Alexander 
Bauman  L.  Belden 
Hon.  William  A.  Clark 
Thomas  Cochran,  Jr. 
Hon.  John  D.  Crimmins 
Mrs.  James  Stewart  Cusnman 
Mrs.  Vernon  M.  Davis 
Pror.  Louis  Delamarre 
Dr.  Frederick  Dielman 


Mrs.  Tkomas  A.  Edison 
Dr.  Ed-ward  Hagaman  Hall 
Hon.  McDougall  Hawkes 
Dr.  George  F.  Kunz 
Mrs.  Charles  F.  MacLean 
Charles  Pryer 
Dr.  Louis  Livingston  Seaman 
Rev.  ^Afilliam  J.  Stewart 
T.  TJeston  Wells 


Chiefly  Concerned  in  Constructing  the  Collection  and  Catalogue 
Dr.  George  F.  Kunz  Bauman  L.  Belden 


J.  Sanford  Saltus 


Frank  \Veitenkampf 


—  <  o     a 

(-1     H 


TABLE  OF  CONTENTS 


Introductory  Remarks  of  the  President  of  the  Joan  of  Arc  Statue 
Committee,  Dr.  George  Frederick  Kunz 9 

Letter  of  His  Excellency  J.  J.  Jusserand,  the  French  Ambassador.  12 

Address  of  Vicomte  Dejean,  Secretary  of  the  French  Embassy,  for 
His  Excellency  J.  J.  Jusserand,  the  French  Ambassador 13 

Address  of  Hon.  C.  B.  Stover,  Commissioner  of  Parks,  New  York 
City 24 

Address  of  Hon.  McDougall  Hawkes,  President  of  the  Museum 
of  French  Art,  French  Institute  in  the  United  States 28 

Address  of  Prof.  Louis  Delamarre,  Secretaire  de  1'Alliance  Fran- 
caise  des  Etats  Unis,  and  Professor  of  French  in  the  College 
of  the  City  of  New  York 30 

Address  of  J.  Sanford  Saltus,  Honorary  President  of  the  Joan  of 
Arc  Statue  Committee 33 

Letter  of  Appreciation  of  Joan  of  Arc  (written  for  the  Joan  of 
Arc  Committee),  by  Boutet  de  Monvel 35 

Address  of  Dr.  Edward  Hagaman  Hall,  Secretary  of  the  American 
Scenic  and  Historic  Preservation  Society 36 

Address  of  Dr.  George  Frederick  Kunz,  President  of  the  Joan  of 

Arc  Committee 38 

With  chronological  table  concerning  Joan  of  Arc. 

Catalogue  of  Engravings,  Drawings,  Photographs,  etc 48 

Stamps,  Letters,  Miscellaneous  Objects 83 

Statuary,  Bronze 92 

Medals 94 

Coins 105 

Bibliography,  Books  and  Pamphlets 106 


"But  Joan  la  Pucelle  shall  be  France's  Saint" 

Words  of  King  Charles  VII  in  Shakespeare's  King  Henry  VI. 
First  Part :  Act  I.  Scene  VI. 


Ceremonies  Attending  the  Opening 

of 

The  Joan  or  Arc  Exhibition 


Under  the  Auspices 
of 


TKe  Joan  of  Arc  Statue  Committee 

The  Museum  or  French  Art 
French  Institute  in  the  United  States 

The  American  Numismatic  Society 


Tne  American  Numismatic  Society  Building 

New  York  City 
Monday,  January  6th,  1913 


INTRODUCTORY    REMARKS    OF    DR.    GEORGE 
FREDERICK    KUNZ 

PRESIDENT  OF  THE  JOAN  OF  ARC  STATUE  COMMITTEE. 

Ladies  and  Gentlemen:  Some  three  years  ago  several  of  us 
thought  that  it  would  be  an  excellent  idea  if  on  the  five  hundredth 
anniversary  of  Joan  of  Arc  we  could  proceed  with  arrangements  that 
would  lead  to  the  erection  of  a  statue  of  Joan  of  Arc  in  the  City  of  New 
York.  We  all  of  us  have  often  heard  it  said  that  virtue  has  its  own 
reward,  but  when  a  woman  has  not  only  virtue,  but  she  has  valor,  she 
has  love  for  her  country  and  courage  to  go  to  war,  it  is  not  surprising 
that  five  hundred  and  one  years  after  she  was  born  even  the  City  of 
New  York,  with  all  its  rush  and  turmoil,  should  see  fit  to  set  aside 
a  day  for  the -opening  of  an  exhibition  which  is  to  last  one  month. 

Important  affairs  of  state  have  prevented  the  French  Ambassador 
from  being  with  us  to-day,  but  he  has  done  us  the  honor  to  delegate  the 
first  Secretary  of  the  French  Embassy  to  deliver  an  address  for  him. 
We  are  also  especially  fortunate  that  the  author  of  "The  Martyrdom 
of  an  Empress"  contributes  a  splendid  article  on  "The  Pearl  of  France." 
Then  we  have  a  contributor  to  our  exhibition  here  who  will  address 
us  presently,  the  Honorable  C.  B.  Stover,  the  Commissioner  of 
Parks  of  the  City  of  New  York.  I  refer  to  an  exhibit  you  will  find  in 
the  case,  the  portrait  of  a  young  lion  cub  that  was  born  last  year,  and 
which  our  public-spirited  friend,  Commissioner  Stover,  named  Joan 
of  Arc.  About  her  love  of  country,  we  can  scarcely  venture  to  speak, 
but  we  know  that  she  is  warlike,  because  for  five  days  a  photographer 
vainly  attempted  to  take  her  photograph.  However,  she  at  last  realized 
that  she  had  Commissioner  Stover  to  deal  with  instead  of  a  Henry 
the  Sixth  or  a  Charles  the  Seventh. 

France  is  not  only  the  home  and  origin  of  much  that  is  best  in 
science  and  literature  and  the  home  of  Joan  of  Arc,  but  it  is  also 
the  home  of  much  of  the  good  and  best  in  modern  art.  No  one  has 
done  more  to  recognize  this  than  two  of  our  committee ;  one,  Senator 
Clark,  in  buying  great  works  and  sending  them  to  this  country,  and 


our  other  speaker,  the  President  of  the  Museum  of  French  Art, 
French  Institute  in  the  United  States,  Honorable  McDougall  Hawkes. 

We  have  in  this  country  ninety  French  alliances,  which  have  been 
grouped  into  a  greater  alliance,  and  we  have  with  us  to-day  Professor 
Louis  Delamarre,  the  Secretary  of  the  Federation  of  French  Alliances 
in  America,  who  will  favor  us  with  an  address  on  the  heroine  of 
France.  Another  speaker  to  whose  words  we  shall  listen,  Mr.  J. 
Sanford  Saltus,  our  Honorary  President,  is  one  of  the  originators  of 
the  idea  of  the  statue,  and  during  his  recent  sojourn  of  two  years  in 
Europe  he  has  made  a  number  of  studies  along  this  line. 

Our  Honorary  President,  Mr.  J.  Sanford  Saltus,  who  has  sus- 
tained us  in  so  many  ways,  not  only  financially,  but  by  visiting  so 
many  places  in  Europe,  obtaining  things  for  us,  and  Mr.  Belden  and 
other  members  of  the  Committee  have  united  their  efforts  to  bring 
together  what  you  see  here,  and  what  will  remain  on  view  here  for 
one  month. 

We  shall  also  have  the  pleasure  of  hearing  Dr.  Edward  Hagaman 
Hall,  Secretary  of  the  American  Scenic  and  Historic  Preservation 
Society,  whose  many  and  valuable  contributions  to  the  early  history 
of  our  city  have  done  so  much  to  foster  interest  in  the  preservation 
of  our  old  landmarks.  His  admiration  of  the  character  and  achieve- 
ments of  the  Maid  of  Orleans  make  him  an  earnest  worker  for  the 
success  of  our  project. 

I  may  add  that  our  committee  have  what  we  think  is  two-thirds 
of  the  amount  of  money  that  will  be  required :  we  have  $20,000 ;  we 
hope  to  raise  $30,000. 

We  want  to  thank  those  friends  of  ours  who  have  remembered 
the  day  and  occasion,  and  who  have  sent  this  beautiful  floral  tribute. 

Our  Committee  has  decided  upon  several  things;  one  is  that  the 
statue  must  be  artistic,  and  there  will  be  no  question  as  to  whether 
the  sculptor  is  American,  Russian  or  Hottentot,  nor  does  the  commit- 
tee care  whether  a  man  or  a  woman  designs  the  statue.  Upon  one 
thing,  however,  we  shall  be  insistent,  that  is,  that  the  statue  must  be 
worthy  of  one  of  the  greatest  personalities  that  has  ever  lived,  of 
one  of  the  greatest  of  nations,  France,  to  which  it  must  also  be  a 
tribute,  and  to  the  coming  greatest  city  in  the  world,  New  York.  We 
have  with  us  in  the  committee  Mr.  John  W.  Alexander  and  Mr. 
Frederick  Dielman,  President  of  the  Federation  of  Fine  Arts,  and 

10 


JOAN   OF  ARC   LISTENING  TO  THE   VOICES 
After   the   painting   by    Bartolini 


also  our  Honorary  President,  Mr.  J.  Sanford  Saltus,  who  has  given 
particular  attention  to  this  matter. 

Before  I  close,  let  me  say  that  probably  no  character  is  recognized 
by  more  nations  than  Joan  of  Arc.  A  catalogue  has  been  prepared 
by  the  committee  in  which  you  will  find  fifty  illustrations  and  which  will 
be  handed  you  as  you  leave  the  door.  Of  the  exhibition,  we  hope 
you  will  have  time  enough  to  see  something  to-day,  but  it  will  remain 
open  for  one  month  from  ten  in  the  morning  until  six  in  the  evening, 
except  on  Sundays,  when  it  will  be  open  from  ten  to  five,  and  Mr. 
Belden  of  our  committee  and  his  assistants  will  be  glad  to  show 
you  attention. 

We  thank  you  for  coming  to-day. 


II 


Letter  of  the  French  Ambassador,  stating  reasons  why  the 
date  January  6th  should  be  maintained  as  "Joan  of  Arc  Day." 
For  this  reason  the  Joan  of  Arc  Statue  Committee  adopted 
that  day  for  the  opening  of  the  exhibition. 


AMBASSADE  DE  FRANCE 

A 
WASHINGTON 


DECEMBER  18,  1912. 

DEAR  MR.  PRESIDENT: 

Answering  your  kind  letter,  I  beg  to  state  that  a  bill  has  been  laid 
before  our  Parliament  in  view  of  a  day  being  selected  for  a  yearly 
national  fete  in  honor  of  Jeanne  d'Arc. 

An  annual  commemoration  already  takes  place  at  the  present  time, 
but  this  is  a  local  one,  held  at  Orleans,  to  celebrate  the  deliverance  of 
the  city  on  the  8th  of  May. 

My  impression  is  that  if  the  day  of  the  birth  were  selected  for  the 
intended  national  fete,  the  6th  of  January  would  be  chosen  without  the 
change  in  the  calendar  being  taken  into  account. 

Allow  me  to  add  that  I  am  deeply  touched  by  the  intention  of  you 
and  your  friends  to  raise  a  monument  to  the  heroine  of  the  France  of 
the  past  and  the  France  of  to-day,  the  simple,  valorous,  clear-sighted, 
ready-witted,  impassioned  girl  of  Lorraine,  who  awakened  a  great 
country  from  an  almost  deadly  sleep,  changed  the  course  of  history, 
died  as  she  had  lived,  a  model  for  men  and  women  of  all  time,  winning 
the  admiration  of  friend  and  foe  alike,  and  desiring  that  all  think  of 
her  who  never  thought  of  herself,  as  modest  at  the  head  of  armies  as 
she  was  pasturing  her  sheep,  and  leaving  in  the  brief  span  of  a  nine- 
teen years'  life  a  record  with  which  no  other  can  compare. 

Believe  me,  dear  Mr.  President, 

Most  sincerely  yours, 

JUSSERAND. 
Dr.  G.  F.  Kunz. 

12 


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ADDRESS  OF  VICOMTE  DEJEAN 

FIRST  SECRETARY  OF  THE  FRENCH  EMBASSY,  WASHINGTON,  D.  C. 

His  Excellency,  the  French  Ambassador,  unable  to  leave  Washing- 
ton on  account  of  very  urgent  engagements,  could  not,  to  his  great 
regret,  join  you  to-day. 

He  has  entrusted  me  with  the  esteemed  honor  of  representing  him, 
but  he  has  not  given  me  (unfortunately  for  you)  the  power  of  deliv- 
ering such  a  charming  speeches  he  would  have  addressed  to  you 
under  the  inspiration  of  the  heroine  to  whom  you  propose  to  erect 
a  statue. 

I  desire,  nevertheless,  to  tell  you,  as  he  would  have  done  it  himself, 
the  sincere  pride  of  every  Frenchman  to  witness  the  manifestation 
organized  under  your  initiative. 

Nothing,  as  a  matter  of  fact,  is  more  flattering  for  a  country  than 
to  see  another  country  adopt  and  consecrate  its  own  heroes  and  erect 
statues  to  them.  Few  people  have  such  a  fame,  such  an  apotheosis. 
Yet  such  is  the  fate  of  the  humble  shepherdess  of  Domremy.  The 
history  of  her  life  has  claimed  the  admiration  of  the  whole  world  for 
five  centuries  and  causes  to-day  in  your  country  the  desire  of  adding 
one  more  tribute  of  respect  to  the  numerous  homages  which  she  has 
received  and  is  still  receiving  every  day. 

I  have  not  the  pretention  of  speaking  here  of  the  mission  of  Jeanne 
d'Arc  and  of  her  part  in  our  history.  I  would  only  say  to  you,  that 
I  am  not  surprised  to  see  you  so  numerously  sympathizing  with  this 
kind  creature  and  touched  by  the  history  of  this  humble  girl,  who 
stimulating  the  courage  of  the  men,  inspiring  captains  and  soldiers, 
saved  her  country  from  one  of  those  terrible  crises,  from  which  France 
has  always  recovered  with  splendor. 

Patriotism  and  energy,  such  were  the  supreme  qualities  of  Jeanne 
d'Arc;  these  are  the  qualities  which  you  place  in  the  first  rank  in 
the  United  States  and  by  which  most  of  your  actions  are  inspired; 
these  two  qualities  enabled  this  poor  country  girl  of  Lorraine  to  lead 

13 


her  King  to  be  crowned  in  Rheims.  By  the  same  qualities  you  were 
victorious  at  Saratoga  and  Yorktown. 

But  something  more  has  touched  you  in  the  history  of  Jeanne 
d'Arc ;  she  was  a  woman,  and  the  purest  woman  of  her  time.  So  much 
courage  and  energy,  united  in  so  charming  a  being,  and  put  to  the 
service  of  so  noble  a  cause,  should  surely  give  a  halo  of  poetry  to 
the  glory  of  having  made  her  country  free  of  the  invading  enemies. 

This  is  all  you  love,  this  is  all  you  want  everyone  to  know  and 
to  love.  Therefore,  in  the  name  of  His  Excellency,  the  French  Am- 
bassador, I  want  to  thank  you,  ladies  and  gentlemen,  who  have  had 
this  most  noble  and  generous  initiative.  Your  squares  and  your 
avenues  are  already  adorned  with  the  statues  of  the  great  men  who 
have  conquered  and  defended  the  independence  of  your  country;  the 
statue  of  Jeanne  d'Arc  will  be  in  the  right  place  in  the  midst  of  all 
these,  as  she  showed  centuries  before  their  time,  the  same  virtue,  the 
same  bravery,  the  same  devotion. 

Her  statue  will  not  only  be  the  image  of  the  Maid  of  Orleans; 
it  will  be  for  all  at  the  same  time  the  symbol  of  the  love  of  Fatherland. 


JEANNE  D'ARC 


"La  Bonne  Lorraine" ;  ah,  sainted,  rare 
Selene  of  the  Azure  fair; 
Ah,  Shepherdess  of  Stars  like  these 
Of  France — undying  Fleurs-de-Lys 
Of  Faith  to  see,  and  Soul  to  dare ; 

The  vigils  of  thy  fold  and  care 
The  sworded  Seraphim  did  share, 
Thine  eyes  outreached  the  centuries, 
"La  Bonne  Lorraine" ! 

Thine  are  the  Angels  that  upbear 
In  Ruin,  Doubt,  and  black  Despair; 
And  in  that  hour  when  foes  increase 
Saint  of  the  Hearthstone  and  of  Peace, 
Pucelle,  for  us  thy  sword  and  prayer, 
"La  Bonne  Lorraine" ! 


M.  M. 


"LA  PASTOURE  D'ARC" 

By  the  Author  of  "  The  Martyrdom  of  an  Empress  " 


ONE  of  the  prettiest  "Fontaines"  in  France,  once,  was  the  "Fontaine 
aux  Groseillers,"a  limpid  spring  bubbling  merrily  within  its  natural 
basin  of  moss-tinted  granite,  and  overshadowed  moreover  by  a  mar- 
vellous tree,  known  all  over  the  country-side  by  the  alluring  name 
of  "1'Arbre  aux  Fees."  Children  gathered  there  often,  a  trifle  fearfully 
perhaps,  since  they  were  much  afraid  to  disturb  the  nixies  and  fays 
drowsing  among  its  cool  verdure — for,  alas!  they  were  reputed  to  be 
easily  angered  by  noise,  and  very,  exceedingly  tricky  when  thus  irri- 
tated. However,  when  the  children  could  coax  the  nine-year  old 
daughter  of  a  certain  farmer  named  Jacques  to  head  their  timid  battal- 
ions, they  approached  the  "Fontaine"  and  its  tantalizing  tree  almost 
with  courage,  since,  as  they  put  it,  "Jeanneton  had  power  over  the 
fairies,  the  elves,  the  birds  of  the  air,  and  all  other  beasties  of  wood 
and  furrow." 

This  courageous  little  person  of  nine  was  already  a  curious  type 
of  ancient,  ancient  France;  her  turn  of  thought  was  a  bit  mystical, 
but  her  singularly  clear  and  sound  mind,  her  lithe,  strong  body,  were 
the  ideal  of  healthy  childish  perfection.  Her  chestnut  locks  fell  about 
her  sun-kissed  face,  her  straight  nose  with  quivering  nostrils  gave  the 
impression  of  high  mettle,  and  her  eyes  were  wonderful ;  blue  as 
gentians  are,  though  when  she  was  "thinking  deep,"  as  the  saying 
goes,  they  lightened  perceptibly  to  a  velvety  azure,  which  reflected  noth- 
ing at  all  of  what  passed  within  her  mysterious  little  soul.  When  angry 
on  the  contrary — she  was  not  yet  a  Saint  then — these  great  long- 
lashed  eyes  turned  almost  black,  as  black  at  least  as  a  dark  sapphire 
seen  by  the  light  of  a  candle. 

Shortly  after  she  had  reached  her  ninth  birthday,  the  undercurrent 
of  passion  no  one  had  ever  divined  in  her,  was  suddenly  aroused 
by  the  brutal  inroad  upon  her  quiet  and  pastoral  surroundings  of 

16 


RUINS  AT  CHINON  WHERE  JOAN   MET  CHARLES  VII 
From  a  modern  photograph 


a  fierce  troop  of  English  and  Burgundian  soldiery,  who  fell  upon  this 
verdant  corner  of  Lorraine,  faithful  to  France,  and  swept,  sword  and 
torch  in  hand,  through  its  flower-starred  fields  and  creeper-grown 
cottages,  leaving  death  and  destruction  behind  them. 

Her  small  fists  clenched,  her  face  as  white  as  snow,  her  eyes  kindled 
to  points  of  flame,  the  child  stood  still  as  a  statue  while  her  home- 
stead was  ransacked  and  pillaged.  She  never  uttered  a  sound,  nor 
allowed  herself  a  shriek,  and  no  tears  came  to  her  relief.  When  the 
enemy  had  gone,  and  only  then,  did  she  seem  to  come  to  herself,  and 
to  her  father  and  mother's  fright  the  child's  pale  rigid  lips  parted, 
and  she  spoke:  "Soon  we  will  avenge  this!"  was  all  she  said;  but 
the  voice  was  so  altered,  so  strangely  determined  and  inexorable,  that 
they  believed  her  brain  had  been  turned  by  what  she  had  just  witnessed, 
and  plied  her  with  dainties,  begging  her  to  be  a  "good  little  girl  again !" 

"A  good  little  girl"  she  did  indeed  prove  herself  to  be.  She  fed  the 
wild  wood-doves  that  flocked  about  her  whenever  she  called  them,  and 
carefully  tended  the  famous  sheep,  the  reiteration  of  whose  woolly 
presence  has  become  somewhat  monotonous  during  the  long  centuries 
that  should  have  left  them  behind  in  the  dim  past — useful  but  perchance 
overdone  accessories.  She  had  a  special  tenderness,  too,  for  blossoms 
of  all  sorts,  especially  for  those  of  a  huge  climbing  white  rose,  that  in 
the  fullness  of  their  transparent  florescence  revealed  a  shining  heart  of 
gold.  The  foliage  of  the  great  rose,  climbing  to  the  very  gables  of  the 
house,  was  of  a  greyish  green,  edged — as  many  such  foliages  are  even 
nowadays — with  delicate  carmine,  exactly  of  the  same  color  as  that 
of  its  big  hooked  thorns.  These  flowers  were  her  particular  delight, 
and  often  when  the  full  moon  shone  she  would  crouch  before  the 
great  clusters  of  bloom  until  their  spicy  perfume  and  nacred  white- 
ness so  wrought  upon  her  that  each  and  every  rose  seemed  a  little 
angelic  face  smiling  at  her  through  glorious  golden  eyes. 

One  fine  mid-day  of  July,  in  the  year  of  Our  Lord  1425,  the  girl, 
who  was  nearing  now  the  wise  age  of  fourteen,  was  standing  in  the 
garden  spinning;  one  hand  whirling  the  spindle  tirelessly  with  the 
mechanical  and  unthinking  precision  that  long  habit  brings.  As  it 
happened,  white  wool  in  a  fleecy  mass  was  wrapped  about  her  distaff, 
bound  lightly  by  a  blue  cord.  Her  whole  body  was  still,  excepting 
for  the  busy  little  hands  fluttering  from  spindle  to  distaff.  She  was 
facing  her  white  roses — just  now  at  the  height  of  their  beauty — never- 
theless her  eyes  were  of  their  most  sombre  blue,  for  it  was  the  anni- 

17 


versary  of  that  Anglo-Burgundian  invasion  which  had  left  such  an 
ineffaceable  impress  upon  her  soul.  Immovable,  she  was  awaiting 
the  song  of  the  noonday  bell  that  soon  would  drift  down  to  her  from 
the  slender  spire  of  the  little  church  close  behind.  At  last  it  came, 
one  melodious  clang,  another — and  then  dazzled  by  the  summer  shine 
of  her  cascade  of  roses,  it  seemed  to  her  that  a  great  light  began  to 
radiate  from  them,  spreading  in  broad  rays  to  form  a  quivering 
Aureole.  On  and  on  sang  the  bell,  dropping  to  a  mere  murmur  of 
floating  music,  rising  again  as  though  to  underline  its  crystal-clear 
meaning.  She  understood  what  it  meant  to  convey,  her  whole  being 
trembling  with  desire  to  hear  more,  and  yet  more,  in  order  to  com- 
prehend quite!  Her  spindle  was  lying  on  the  grass  at  her  feet,  her 
gaze  was  as  azure  now  as  the  turquoise  of  the  sky  above,  and  slowly 
she  knelt  down,  a  glory  on  her  face,  praying,  praying,  for  guidance 
and  the  power  to  obey  the  wondrous  command. 

It  is  to  be  feared  that  after-times  misunderstood  the  character  of 
that  little  maid,  and  the  import  of  that  moment.  She  has  been  pre- 
sented as  an  "Illuminee" ;  as  a  half-masculine  being,  with  a  genius  for 
war  and  a  nimbus  of  legend ;  again,  as  simply  demented ;  and  even  as 
a  "white  witch"  with  supernatural  powers.  But  all  these  conceptions 
are  as  false  as  any  will  be  that  fails  to  consider  the  time  when  she 
lived,  and  the  inwardness  of  this  peerless  creature;  whose  "imagina- 
tion" led  her  to  the  self-abasements  and  self-sacrifices  of  heroism, 
and  whose  whole  being  was  permeated  with  Faith  of  the  most  golden, 
pure,  and  true.  There  exist  to-day  similar  natures  and  characters, 
differing  from  her's  only  in  degree  and  achievement;  but  one  only 
meets  with  them  in  those  lands  that  like  Brittany  retain  in  a  large 
measure  the  ideas  and  the  beliefs  of  the  Long  Ago;  where  stubborn 
heads  and  loyal  hearts  refuse  to  be  convinced  by  any  argument  that 
they  are  no  longer  what  their  fathers  were,  that  Heaven  is  nothing- 
ness, and  all  that  is  Royalty  is  forever  gone.  They,  too,  are  called 
mystics — "illumines" — fools,  perhaps,  but  what  can  prove  their  folly 
excepting  Time — and  the  Almighty  hand  which  guides  all  Fates, 
sometimes  by  instruments  made  slender  that  they  may  vibrate  and 
respond. 

As  if  born  to  be  guided  by  fortuitous  circumstances,  but  a  com- 
paratively short  time  after  the  Vision  in  the  Roses,  a  footsore  way- 
farer stopped  at  the  farmstead  where  the  little  maid  thought  and 
fretted  over  things  "too  high  for  her,"  as  her  parents  would  have  said 

18 


JOAN  OF  ARC  LEAVING  VAUCOULEURS 
From  the  painting  by  J.  J.  Scherrer 


fa      •" 

o  < 

la 

< 

o    - 


had  they  but  known.  The  traveller  came  from  far,  and  he  was  as 
yet  only  at  the  end  of  half  his  journeying.  He  asked  permission  to 
rest  an  hour  or  so  in  the  shade  of  the  trees,  and  if  he  might  be  par- 
doned for  such  boldness,  a  sup  of  milk  and  a  crust  of  bread,  for  which 
he  craved  the  boon  of  paying.  The  Farmer,  however,  would  have 
none  of  this.  "Pay?  Nenni,  mon  camarade" ;  he  was  not  so  poor  as 
to  require  payment  for  a  meal — except  the  payment  be  a  little  news 
from  the  outside.  News  was  rarer  than  coin  and  more  valuable  in 
this  green  desert  of  Lorraine,  where  he  labored  in  the  sweat  of  his 
brow. 

Nothing  loth,  as  soon  as  refreshed,  the  "passant,"  luxuriously  re- 
clining on  the  velvet  sward,  began  to  talk,  and  to  talk  well,  too — as 
was  the  wont  of  many  wanderers  of  those  days,  whose  only  equipage 
was  their  shoon. 

He  told  much  of  the  death  of  the  King,  intermingling  the  tragic 
recital  by  more  than  one  orison,  for  like  the  people  of  Paris,  he  could 
not  but  deplore  this  great  misfortune,  and  like  them,  repeat  again  and 
again  "Ah,  never  will  we  have  one  like  you  again,  beloved  Sovereign ! 
Misfortune  awaits  us  now,  ruin,  wars,  and  deep  sorrows."  In  his 
picturesque  language  he  told  how  while  the  King  was  dying,  his 
reluctant  Dauphin  was  on  the  road  from  the  Saintonge  to  Berry,  where 
he  mostly  resided,  and  how  he,  as  soon  as  his  father's  death  was  made 
known  to  him,  had  adopted  simply  the  title  of  Regent  of  France,  well 
aware  of  the  dread  complications  his  claiming  of  the  Throne  would 
entail.  The  sketchy  portrait  of  Charles,  the  erstwhile  Dauphin,  was 
given  in  a  few  masterly  strokes  of  the  tongue.  A  mere  boy,  alas, 
head-strong  and  yet  weak  of  purpose  and  action.  Handsome, 
debonnaire,  pleasure-loving;  in  fine,  one  who  would  never  be  fit  to 
hurl  the  English  out  of  France  and  hold  alone  the  tangled  reins  of 
government.  A  "beau-parleur,"  but  vacillating  in  his  decisions  and 
opinions.  But  who  was  there  to  help  him  retain  the  Royal  state  he 
had  finally  adopted — after  interminable  tergiversations,  and  when  still 
at  his  private  castle  of  Mehun-sur-Yevre  ? 

Many  comments  followed,  the  Farmer  and  his  guest  exchanging 
remarks  more  or  less  sapient,  but  which  fell  in  two  pretty  ears,  very 
wide  awake  indeed.  For  the  young  girl,  though  apparently  fascinated 
by  her  eternal  distaff  and  spindle,  stood  unnoticed  close  behind  them, 
ardently  drinking  in  each  syllable.  "They  say  yonder  that  France, 
lost  by  a  woman,  will  be  reconquered  by  a  virgin,"  the  traveller  quoted, 

19 


adding  a  doubt  or  two  about  the  sanity  of  this  prediction,  which  was 
echoed  by  the  peasant's  derisive  laughter!  The  girl  shivered.  What 
had  those  bells  murmured  to  her  heart?  Why  had  the  roses  quivered 
and  shone  like  the  wing-feathers  of  Angels?  What  were  those  signs 
all  pointing  to,  and  why  also  this  ever-increasing  restlessness,  this 
unquietness  of  heart,  oppressing  her  more  and  more  as  day  followed 
day,  and  night  followed  night?  Suddenly  she  bent  brusquely  forward 
between  the  two  men,  her  face  flushed,  her  eyes  ablaze  with  en- 
thusiasm. 

"Why  do  you  laugh?"  she  cried.  "Why  should  not  the  prophecy 
be  true?" 

Both  hearers  turned,  startled  by  that  sudden  apparition,  and  by 
those  bold  words. 

"Are  you  mad?"  the  angry  father  clamored,  astounded  by  a 
liberty  of  speech  and  attitude  unheard  of  then  when  children  addressed 
their  parents.  The  "raconteur"  was  staring  at  the  beauty  of  face  and 
form  so  unexpectedly  revealed  to  him:  "Have  you  swallowed  all 
shame  ?"  the  father  vociferated,  "to  dare  speak  to  me  in  such  a  fashion, 
and  before  a  stranger,  too  ?"  This  seemed  a  hard  pill  indeed  to  down ! 
His  hitherto  humbly  respectful  daughter  apparently  took  no  heed  of 
wrath  or  remonstrance.  She  had  straightened  herself,  and  was  look- 
ing fixedly  in  front  of  her: 

"Let  me  go,"  she  said  in  a  strangely  calm  voice.  "Let  me  go,  and 
make  that  poor  Prince  a  real  King.  Let  me  go  and  save  France.  I 
know  I  can  do  it.  I  have  known  it  long,  and  now  the  time  has  come. 
Let  me  go !" 

Her  tone  was  neither  supplicating  nor  imperative.  She  asked  a 
boon,  but  as  if  it  were  her  unquestionable  right,  and  the  men  jumped 
simultaneously  to  their  feet  in  order  to  stare  at  her  more  nearly.  A 
dusky  red  had  overspread  the  paternal  countenance ;  the  father's  grey 
eyes  were  sparkling  with  fury. 

"Hear  me !"  he  growled,  "if  you  speak  thus  again,  if  you  attempt 
any  folly,  I  shall  drown  you  with  my  own  hands  in  the  horse-pond. 
Begone,  you  sinful  lass,  and  keep  home  till  I  release  you  from  pen- 
ance." 

But  the  girl  remained  unmoved,  though  her  father  had  raised  his 
heavy  hand  to  strike. 

"Hold  there,  comrade !"  said  the  wayfarer,  stepping  hastily  between 
him  and  the  girl.  "Look  at  her — look  at  her,  man.  Why  she's  in- 

20 


spired,  predestined !  Do  you  know  what  Merlin  the  En- 

chanter predicted  long,  long  ago?  ...  I  now  remember  having 
heard  it.  'A  virgin  will  save  France,'  eh?  Look  at  your  child,  mon 
gars,  and  blaspheme  no  more!" 

"Blaspheme  or  not,  she  shall  obey  me!"  the  other,  quite  beside 
himself,  cried  out,  raising  his  arms  heavenward :  "A  girl  who  fright- 
ens everyone  with  her  owlish  ways,  her  pretense  of  finding  everything 
that's  lost,  even  water  underground  .  .  .  Almight  God  —  who 
cursed  my  house  with  such  as  she !" 

The  "Pastoure,"  as  she  was  called,  owing  to  her  love  for  animals, 
and  her  tending  of  flocks,  was  still  motionless ;  her  face  had  whitened 
under  its  amber  tan,  but  otherwise  she  showed  no  dread,  no  emotion 
of  any  sort,  though  her  father's  violence  usually  terrified  her.  Her 
mind  was  made  up ;  this  was  a  fact  that  any  keen  observer  might  have 
seen  at  a  glance,  but  even  this  sleek-spoken  wanderer  who  gazed 
steadily  at  her  did  not  see. 

"It's  the  hour  for  me  to  go  my  way,"  he  said,  "and  if  you  will 
take  a  friend's  advice,  Gossip,  don't  punish  the  child.  She's  a  rare 
beauty,  and  a  Saint  from  Heaven,  too,  if  I'm  any  judge.  Anyhow, 
I'll  proclaim  her  virtues  wherever  I  go;  and  so  thanking  you  for  your 
generosity,  I'm  off." 

Probably  the  emotions  of  the  last  half  hour  had  been  too  much, 
even  for  the  sturdy  tiller  of  the  ground,  for  he  let  this  chance  visitor 
depart  without  a  gesture  of  either  acknowledgment  or  reproof.  But 
at  the  first  word  of  adieu  the  girl  had  fled,  and  so  well  concealed 
herself,  that  clever  would  have  been  the  one  who  could  have  dis- 
covered her. 

Time  stumbled  along  under  circumstances  that  for  the  inhabitants 
of  the  little  farmstead  were  nothing  but  an  armed  truce.  The  young 
girl  was  constantly  watched,  her  parents  and  brothers  being  neither 
tender  nor  confiding,  but  her  own  resolve  remained  unshaken.  Hourly 
almost  she  implored  the  King  of  Heaven  to  let  her  save  that  earthly 
King — rightful  Sovereign  of  France — who  did  not  know  how  to  save 
himself — and  free  his  kingdom.  Silently,  calmly,  the  "Maid"  con- 
tinued to  elaborate  plans,  which  being  given  her  complete  ignorance — 
of  course,  she  could  not  even  read — were  as  marvellous  as  her  Heav- 
enly promptings  had  been. 

She  had  become  wondrously  beautiful,  and  the  lads  of  Lorraine 

21 


were  not  blind  enough  to  overlook  this  fact.  One  of  them  especially, 
the  handsomest  stripling  of  them  all,  blue-eyed  and  golden-haired,  was 
resolved  to  gain  her  love,  having  with  old-time  honesty  obtained  first 
the  consent  and  encouragement  of  his  coveted  father-in-law  to  be. 
"It  will  drive  every  dream  from  the  maiden's  head  to  enter  married 
life,"  the  farmer  had  told  his  good  wife;  at  which  sage  remark  she 
had  nodded  assent,  knowing  too  well  what  married  life  was,  in  her 
case  at  least,  to  question  its  driving  away  dreams. 

The  maiden,  however,  wholly  obdurate  to  the  languishing  glances 
of  her  suitor,  equally  by  sun  or  by  moonlight,  at  last  appealed  to  her 
Father-Confessor  to  defend  her  from  so  distasteful  a  pursuit.  Hence- 
forth her  home-life,  from  the  painful  thing  it  had  been,  became  utterly 
unendurable,  though  she  showed  no  outward  sign  of  her  deepening 
grief.  But  after  another  while  she  could  bear  no  longer  the  perpetual 
tension  under  which  she  labored;  and  one  night,  in  the  dark  of  the 
moon,  she  fled  to  the  house  of  her  uncle,  situated  a  few  leagues  away. 
There  were  thorns  in  the  forest,  and  thread-like  tracks  where  branches 
crossed  each  other;  no  doubt  now  and  again  a  wolf  snarled  in  the 
dense  thickets;  but  what  cared  the  stout-hearted  lass  who  knew  no 
fear,  excepting  that  of  doing  wrong?  Her  flight  seemed  right  to  her, 
and  a  thing  she  could  not  have  avoided  had  she  wished  to  do  so.  It 
was  pre-ordained,  the  result  of  a  command  she  could  not  disobey;  so 
what  mattered  effort,  nay,  even  pain?  A  voice  seemed  to  sing  in  her 
heart  that  her  aim  was  near  to  its  accomplishment,  and  she  could 
not  doubt.  Besides,  so  acute  were  her  senses,  so  closely  had  she 
lived  with  Nature,  that  darkness  and  obstacles  melted  before  her  fleet 
progress.  The  pallid  phosphorescence  of  the  huge  fungi  clinging  to 
the  trunks  of  trees,  or  flattened  on  the  moss,  gave  light  enough,  she 
thought,  and  when  a  startled  owl  flew  noisly  above  her  head  she  was 
in  wise  alarmed.  All  birds  were  her  friends,  and  more,  had  not 
she  herself  been  called  owlish  in  her  ways?  On  and  on  she  ran,  un- 
fettered now,  and  unhindered,  light  as  thistledown,  praying  the  while 
almost  unconsciously  to  that  Great  King  who  sat  enthroned  far  beyond 
the  sombre  forest-roof  and  the  black  vault  of  Heaven  above;  yes, 
praying  for  the  "poor  Prince"  whom  she  was  hurrying  now  to  make 
King  of  her  beloved  country. 

The  dawn  was  just  creeping  grayly  upon  the  sleeping  world  when 
she  drew  near  her  goal,  so  she  knelt  to  the  soft  Angelus  of  the  pale 
"Clochettes" — those  flowers  that  are  reputed  to  swing  their  little 

22 


lilac  bells  in  the  mist  before  sunrise — and  said  her  beads  more  rever- 
ently and  fervently,  if  that  were  possible,  than  on  other  morns. 

Her  uncle,  less  thick-headed  than  her  father  was,  greeted  her  right 
joyously;  and  after  a  while  consented  to  take  her  to  the  Sire  de  Baudri- 
court,  in  command  at  Vaucouleurs,  to  whom  she  said  simply:  "Lead 
me  to  the  Dauphin"  (she  would  not  call  him  King  until  he  had  been 
anointed),  "My  King  of  Heaven  sends  me  to  save  him." 

;Jt  ^;  ;fc  jji  if:  ^  ^c 

From  this  point,  however,  history,  written  in  all  languages  by  all 
sorts  of  wise  or  otherwise  men,  tells  whomsoever  wills  to  read,  the 
stormy  life  of  "la  Pastonre,"  henceforth  Jeanne  d'Arc,  who  at  one  and 
the  same  time  was  the  greatest  leader  and  strategist  of  her  day,  who 
conquered  the  English,  saved  France,  and  set  her  Kingly  Protege  on 
his  rightful  Throne.  What  use  is  there  to  say  more? 

What  goes  before  is  merely  the  true  portrayal  of  the  little  maid, 
before  her  name  rang  throughout  Christendom.  The  beads  of  this 
chaplet  were  gathered  from  the  sayings  of  simple  people  among  whom 
the  tale  was  handed  down  from  generation  to  generation ;  as  also  from 
certain  black-letter  parchments  that  lie  hidden  in  the  never-visited 
muniment  rooms  of  old  castles,  together  with  a  great  respect  for  past 
grandeurs  and  past  martyrdoms.  Thus  are  there  a  score  or  so  who 
know  how  the  sweetest  and  purest  of  beings  came  to  win  Paradise  for 
her  own,  through  blood  and  battle  and  fire;  which  left  her  unscathed 
and  unhurt  in  heart  and  in  soul,  whatever  some  of  her  tormentors  may 
have  claimed  to  the  contrary. 


ADDRESS  OF  HON.  C.  B.  STOVER 

COMMISSIONER  OF  PARKS,  CITY  OF  NEW  YORK. 

Mr.  Chairman,  Ladies  and  Gentlemen:  It  is  the  purpose  of  the 
Committee  and  the  Societies  in  charge  of  this  exhibition  to  erect  a 
statue  to  Joan  of  Arc  in  the  City  of  New  York;  and  for  this  reason 
doubtless  the  Park  Department  is  represented  here  to-day.  With 
the  invitation  to  speak  on  this  occasion  came  the  assurance  that  this 
monument  will  be  a  supreme  work  of  art,  and  I  accepted  the  invitation 
gladly.  For  I  do  not  believe  that  the  Park  Commissioner,  to  whom 
the  application  must  be  made  for  a  site  for  a  proposed  public  monu- 
ment, should  stand  at  the  gates  of  our  parks,  like  an  ugly  watch  dog, 
to  warn  off  builders  of  monuments.  It  is  true  our  City  is  famous 
for  some  amazing  statuary.  But  acceptance  of  the  bad  in  the  past 
furnishes  not  the  slightest  ground  for  rejecting  the  good  to  come. 
Long-continued  jesting  over  our  freakish  statues  has  produced  a 
widespread  indifference,  not  to  say  antagonism,  to  more  statuary  in 
public  places.  This  should  not  be.  Rather  let  it  be  the  City's  rule  to 
welcome  gifts  of  truly  great  statues  to  truly  great  men  and  women. 
For  such  there  long  will  be  room.  And  more  room  can  be  made  by 
a  dexterous  determination  to  rid  our  city  of  the  monstrosities  which 
now  disfigure  it — a  deed  already  accomplished  in  one  famous  case. 

Who  will  say  there  is  an  excess  of  good  statuary  in  our  city? 
In  the  "Catalogue  of  the  Works  of  Art  belonging  to  the  City  of  New 
York,"  prepared  and  issued  by  the  Art  Commission  in  1909,  the  number 
of  entries  under  Sculpture,  including  Tablets,  Fountains,  etc.,  is  222, 
but  the  actual  number  of  public  statues,  not  counting  the  numerous 
Mayors  up  on  the  Hall  of  Records,  and  the  numerous  law-givers  high 
up  on  the  Court  House  of  the  Appellate  Division,  is  only  about  one- 
third  this  number.  As  for  Paris,  I  find  in  Henard's  "Les  Jardins  et 
les  Squares,"  published  in  1911,  a  list  of  statues,  fountains,  and  other 
monuments  in  the  gardens  and  squares  of  Paris,  amounting  to  412, 
still  far  ahead  of  our  city  numerically.^ 

For  a  long  time  our  city  gave  no  encouragement  to  public  monu- 

24 


ments.     Its  record  to  the  middle  of  the  nineteenth  century  is  thus 
stated  in  our  Art  Commission's  Catalogue : 

"In  the  years  between  the  founding  of  the  United  States  Govern- 
ment and  1850,  various  attempts  were  made  to  induce  the  Common 
Council  to  erect  statues  to  distinguished  men  and  individuals,  and 
certain  societies  sought  to  enlist  the  co-operation  of  the  citizens  to 
honor  men  in  this  way.  All  efforts  to  secure  either  public  or  private 
funds  for  erecting  statues  were  unsuccessful  during  the  first  sixty 
years  following  the  Revolution.  The  first  piece  of  sculpture  bought 
by  the  city  was  the  white  marble  bust  of  Henry  Clay,  purchased  in  1852, 
although  a  few  busts  were  presented  to  the  city  much  earlier  than  this." 

In  that  time,  when  the  city  made  the  first  purchase  of  statuary, 
Central  Park  was  called  into  being;  and  in  the  sixties,  after  the  Park 
Commissioners  had  built  that  elaborate  piece  of  architecture  known 
as  the  Terrace,  a  big  sculptural  question  arose.  The  original  designs 
included  "full-length  statues,  as  also  busts,  of  distinguished  Ameri- 
cans, upon  the  large  pedestals,"  which  are  now  covered  with  orna- 
mental caps,  then  thought  to  be  temporary.  A  writer  of  that  day 
congratulates  the  Commissioners  on  "making  no  attempt  whatever  as 
yet  to  procure  statues  for  these  places,"  and  he  advises  that  "it  be 
not  done  until  there  is  ample  means  to  secure  the  best  work  possible 
in  America."  The  same  writer  goes  on  to  say,  "First-rate  statues  are 
as  yet  hardly  to  be  got  for  money  here,  though  we  cordially  believe 
that  they  will  be  produced  in  good  time ;  but  until  they  can  be  had  it  is 
best  to  wait,  for  a  second-rate  statue  is  like  a  tolerable  egg — it  is  not 
to  be  endured.  If  one  statue  is  found  fit  to  be  placed  upon  the 
Terrace  in  a  generation,  we  shall  think  we  are  getting  on  very  well 
indeed." 

But  far  away  from  those  days,  both  in  time  and  artistic  ability, 
is  our  present  age.  America  now  has,  here  and  abroad,  sculptors 
fitted  for  any  task. 

Still,  granting  all  this,  I  find  that  some  quite  intelligent  fellow- 
citizens  smile  at  the  proposition  of  a  statue  of  Joan  of  Arc  here  in 
New  York  City.  They  smile  because  to  them  she  seems  not  only  to 
belong  to  a  far-away  and  different  age,  but  because  they  find  her 
both  visionary  and  legendary.  Though  much  that  is  legendary  early 
gathered  around  this  marvelous  maid,  yet  probably  by  reason  of  both 
the  lengthy  trial  and  the  elaborate  depositions  at  the  rehabilitation,  the 

25 


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character  and  the  career  of  no  hero  of  past  centuries  are  more  clearly 
defined  than  those  of  Joan  of  Arc. 

Though  she  saw  visions,  she  was  far  from  being  visionary.  No 
leader  of  men  ever  knew  better  how  to  keep  her  counsel  than  did 
she.  She  saw  clearly  the  task  set  for  her,  and  knew  how  to  await 
the  time  of  its  fulfillment.  After  she  had  heard  the  voices  and  beheld 
the  saintly  visitors,  she  continued  in  the  daily  work  of  her  peasant 
home,  the  work  of  spinning,  sewing,  of  tending  to  the  flocks  in  the 
fields.  She  was  not,  nor  did  she  seek  to  become,  an  ascetic  saint. 
The  voices  told  her  to  save  France  from  the  English;  they  said  to 
her,  "You  must  go  into  France;  go,  raise  the  siege  which  is  being 
made  before  the  City  of  Orleans,"  and  she  replied,  "I  am  but  a  poor 
girl,  who  knows  nothing  of  riding  and  fighting."  But  these  voices 
were  obeyed,  though  she  could  say  later,  "I  would  rather  have  been 
torn  asunder  by  four  horses  than  have  come  into  France  without  God's 
leave." 

The  marvelous  clear-headedness  of  this  visionary  is  shown  in  num- 
berless instances  in  the  trial,  as  also,  for  example,  is  shown  how  far 
removed  this  visionary  was  from  the  class  of  the  sorcerer  and  the 
witch. 

"What  have  you  done  with  your  mandrake?" 

"I  never  had  one.  But  I  have  heard  that  there  is  one  near  our 
home,  though  I  have  never  seen  it.  I  have  heard  it  is  a  dangerous 
and  evil  thing  to  keep.  I  do  not  know  for  what  it  is  used." 

"Where  is  this  mandrake  of  which  you  have  heard?" 

"I  have  heard  that  it  is  in  the  earth  near  the  tree  of  which  I  spoke 
before;  but  I  do  not  know  the  place." 

"What  have  you  heard  said  was  the  use  of  this  mandrake?" 

"To  make  money  come;  but  I  do  not  believe  it.  My  voice  never 
spoke  to  me  of  that." 

And  when,  as  often,  they  sought  to  entrap  her  in  her  words,  how 
vain! 

"In  what  likeness  did  Saint  Michael  appear  to  you?" 

"I  did  not  see  a  crown.     I  know  nothing  of  his  dress." 

"Was  he  naked?" 

"Do  you  think  God  has  not  wherewithal  to  clothe  him?" 

And  what  tenacity  did  she  show  over  and  over  again  when  the 
Bishop  of  Beauvais  and  the  Assessors  sought  to  make  her  reveal  things 
she  had  sworn  not  to  reveal ! 

26 


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"What  sign  did  you  give  your  king  that  you  came  from  God?" 

"I  have  always  answered  that  you  will  not  drag  this  from  my  lips. 
Go  and  ask  it  of  Him." 

"Have  you  sworn  not  to  reveal  what  shall  be  asked  of  you  touching 
the  trial?" 

"I  have  always  told  you  that  I  will  tell  you  nothing  of  what  con- 
cerns my  king.  Thereon  I  will  not  speak." 

"Do  you  not  know  the  sign  that  you  gave  to  the  king?" 

"You  will  not  know  it  from  me." 

"But  this  touches  the  trial." 

"Of  what  I  have  promised  to  keep  secret  I  will  tell  you  nothing. 
I  have  already  said,  even  here,  that  I  could  not  tell  you  without 
perjury." 

And  even  in  respect  to  fairies  and  the  "Fairies'  Tree,"  how  Joan 
of  Arc  stands  apart  from  her  age  and  her  playmates !  On  this  sub- 
ject she  said  at  the  trial,  "I  have  also  heard  one  of  my  godmothers 
say  that  she  has  seen  fairies  there ;  whether  it  be  true,  I  do  not  know. 
As  for  me,  I  never  saw  them  that  I  know  of.  If  I  saw  them  any- 
where else,  I  do  not  know.  I  have  seen  young  girls  putting  garlands 
on  the  branches  of  this  tree,  and  I  myself  have  sometimes  put  them 
there  with  my  companions.  But  ever  since  I  knew  that  it  was  neces- 
sary for  me  to  come  to  France  I  have  given  myself  up  as  little  as 
possible  to  these  games  and  distractions.  There  is  also  a  wood  called 
the  Oak  Wood,  which  can  be  seen  from  my  father's  door;  it  is  not 
more  than  half  a  league  away.  I  do  not  know  and  have  never  heard 
if  the  fairies  appear  there.  But  my  brother  told  me  that  it  is  said  in 
the  neighborhood:  'Jeannette  received  her  mission  at  the  Fairies' 
Tree.'  It  is  not  the  case,  and  I  told  him  the  contrary.  When  I 
came  before  the  king,  several  people  asked  me  if  there  were  not  in 
my  country  a  wood  called  the  'Oak  Wood,'  because  there  were  prophe- 
cies which  said  that  from  the  neighborhood  of  this  wood  would  come 
a  maid  who  should  do  marvelous  things.  I  put  no  faith  in  that." 

And  so  I  might  go  on  for  an  hour  to  show  by  such  quotations  how 
this  maid  of  visions  and  voices  was  anything  but  a  visionary.  Well 
may  New  York  erect  a  statue  to  such  a  visionary,  one  so  clear-headed, 
resolute,  and  practical.  For  our  age  and  our  land,  no  less  than  other 
ages  and  lands,  need  men  and  women  who  can  see  such  visions  as  will 
enable  them  to  guide  us  on  our  onward  march,  to  the  City  of  God. 
(Applause.) 

27 


ADDRESS    (IN    PART) 
OF   HON.   McDOUGALL  HAWKES 

CHAIRMAN  OF  THE  BOARD  OF  TRUSTEES  OF  THE  MUSEUM  OF  FRENCH 
ART,  FRENCH  INSTITUTE  IN  THE  UNITED  STATES. 

The  occasion  which  brings  us  here  is  in  every  sense  most  interest- 
ing; the  time  at  our  disposal  is,  however,  so  short  that  I  do  not 
hesitate  to  confine  my  remarks  to  the  personality  of  this  very  remark- 
able woman,  in  many  respects  one  of  the  most  remarkable  women  of 
the  world;  this  exhibition  has  brought  together  in  a  country  the 
existence  of  which  was  not  at  that  time,  at  the  time  she  was  born, 
even  dreamed  of,  an  assemblage  to  do  her  honor,  and  to  perpetuate 
in  this  new  land  the  memory  of  her  noble  deeds. 

It  is  not  possible  for  me  to  allude  in  detail,  as  I  shall  not  have 
the  time  to  do  so,  to  the  events  in  her  life,  beyond  simply  recalling  to 
your  mind  that  she  was  born  of  simple  peasants  in  the  Eastern  part 
of  France,  not  very  far  from  Nancy,  and  that  her  house  still  exists 
to-day  and  is  visited  by  tourists  from  all  over  the  world. 

Whether  her  impulse  came  from  visions  or  from  religious  en- 
thusiasm, or  from  what  to  me  seems  to  be  a  much  more  likely  ex- 
planation, the  growing  feeling  of  modern  patriotism,  is  immaterial ; 
Mr.  Stover  has  explained  to  you  his  idea  of  what  the  moving  impulse 
was;  be  all  that  as  it  may,  at  any  rate  what  she  did  has  seldom  been 
equalled  by  any  one,  be  it  woman  or  man. 

Her  trip  to  Chinon  to  impress  upon  the  King  of  France,  or  rather 
the  uncrowned  King  of  France,  a  sense  of  his  responsibilities  would 
of  itself  stamp  her  as  one  of  the  great  characters  of  history.  Her 
composure  when  she  found  him,  she,  a  humble  peasant  girl  among  the 
entourage  of  a  court,  was  altogether  remarkable.  Following  this 
interview,  and  notwithstanding  many  discouragements,  she  so  im- 
pressed the  would-be  Monarch  of  France  with  a  sense  of  his  duties 
that  he  finally  allowed  events  to  take  the  course  which  she  indicated; 

28 


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and  her  path  was  not  by  any  means  an  easy  one,  for  even  in  her  most 
clear-cut  ideas  she  was  constantly  being  thwarted  by  people  who 
perhaps  were  jealous  of  her  possibilities,  or  who,  through  sheer  in- 
capacity, were  unable  to  perceive  the  standard  which  she  was  raising. 

Her  role  at  Orleans  was  extraordinary;  that  city,  we  may  say, 
fell  almost  at  the  approach  of  her  steps ;  her  subsequent  desire  to  see 
the  King  crowned  in  Rheims  was  carried  in  very  much  the  same  sort 
of  way;  one  of  the  greatest  art  monuments  of  France,  the  Cathedral 
of  that  city,  became  thus  forever  associated  with  her  personality. 

She  stands  as  the  embodiment,  in  my  judgment,  of  the  irresisti- 
ble power  which  womanhood,  true  womanhood,  is  able  to  exercise 
for  good  over  humanity,  and  as  such  her  memory  can  well  be 
cherished  and  blessed,  and  she  may  be  taken  as  an  inspiration  all 
over  the  world.  (Applause.) 


29 


DISCOURS  DE  M.  LOUIS  DELAMARRE 

SECRETAIRE  GENERAL  DE  LA  FEDERATION  DE  L'ALLIANCE  FRANQAISE. 

MONSIEUR  LE  PRESIDENT,  MESDAMES,  MESSIEURS: 

La  Federation  de  1'Alliance  Franchise  aux  Etats-Unis  et  au  Canada 
ne  pouvait  manquer  de  s'associer  aux  hommages  rendus  a  Jeanne  d'Arc 
a  1'occasion  du  cinq-cent-unieme  anniversaire  de  sa  naissance.  En 
"boutant"  1'etranger  hors  de  France,  Jeanne  d'Arc  a  non  seulement 
assure  1'independance  de  son  pays,  mais  elle  en  a  sauve  sa  langue  et 
sa  litterature  qui  auraient  sans  doute  fini  par  disparaitre,  au  bout  de 
quelques  siecles,  sous  la  domination  anglaise.  Elle  a  done  en  quelque 
sorte  commence  cette  campagne  que  poursuit  1'Alliance  Franchise,  pour 
la  diffusion  de  notre  litterature  a  travers  le  monde,  et  a  ce  titre  nous  lui 
devions  un  tribut  de  reconnaissance. 

Qu'  elle  soit,  comme  elle  le  dit,  1'envoyee  de  Dieu,  ou  non,  Jeanne 
d'Arc  n'en  reste  pas  moins  une  creature  humaine  qui  agit,  dans  toute 
la  liberte  et  la  conscience  de  son  individuality ;  1'appel  divin  n'a  pas 
fait  d'elle  une  de  ces  creatures  amorphes,  sans  ressort  et  san  energie, 
qui  agissent  comme  des  automates,  nous  trouvons  en  elle  des  facultes 
harmonieusement  ponderees. 

Entre  tant  d'autres  belles  qualites,  ce  que  j 'admire  le  plus  en  Jeanne 
d'Arc,  c'est  son  intelligence.  Des  le  premier  jour  de  sa  carriere  pub- 
lique  elle  a  vu  nettement  le  but  qu'elle  voulait  atteindre  et  elle  a  claire- 
ment  distingue  les  monyens  d'y  parvenir. 

S'il  y  eut  jamais  une  epoque  dans  1'histoire  du  monde  ou  il  fut  plus 
difficule  de  connaitre  son  devoir  que  de  1'accomplir,  ce  fut  sans  con- 
tredit  celle  ou  Jeanne  parut  a  la  cour  de  Chinon. 

Quel  etait  alors  le  roi  legitime  de  la  France  ? 

Dequis  un  siecle  on  s'entregorgeait  sur  les  champs  de  bataille 
pendant  que  les  legistes  discutaient  pesammant  sur  le  provisions  de  la 
loi  salique.  Le  royaume  de  France  etait  presque  egalement  partage 
entre  le  roi  d'Angleterre  et  le  pauvre  roi  de  Bourges.  Bien  plus,  en 
vertu  du  traite  signe  a  Troyes  en  1420,  le  trone  de  France  avait  etc 

30 


regulierement  cede  au  roi  d'Angleterre  Henri  V,  qui  avait  part  surcroit, 
epouse  la  fille  de  Charles  VI  et  Isabeau  de  Baviere!  Comment  le 
peuple  aurait  il  pu  demeler  la  verite  dans  un  imbroglio  ou  les  plus 
sages  ne  se  retrouvaient  pas  ?  Si  la  reine  de  France  avait  pref ere  don- 
ner  le  trone  a  son  gendre  plutot  qu'a  son  fils,  pourquoi  la  masse  du 
peuple  ne  se  serait-elle  par  ralliee  autour  du  drapeau  anglais?  La 
situation  ne  laissait  par  d'etre  angoissante. 

Jeanne,  elle,  n'hesita  pas.  En  arrivant  a  la  cour  de  Chinon,  elle 
salue  le  Dauphin  comme  1'heritier  legitime  des  rois  de  France.  De- 
puis  longtemps  le  pauvre  Dauphin  est  sous  1'influence  d'impressions 
penibles  et  de  doutes  affreux.  Ce  qu'  on  lui  a  raconte  de  la  conduite 
de  sa  mere,  lui  fait  craindre  qu'il  ne  soit  pas  le  fils  du  dernier  roi. 
Mai  Jeanne  le  rassure ;  ses  voix  lui  ont  revele  un  secret  qu'elle  lui  com- 
munique ;  elle  le  proclame  roi  de  France. 

Cette  intelligence,  Jeanne  la  manifeste  a  tous  les  moments  de  sa 
courte  carriere,  tant  dans  ses  vues  politiques  que  dans  ses  plans 
strategiques. 

Comment  ne  pas  admirer,  Mesdames  et  Messieurs,  la  rectitude  de 
jugement  de  cette  simple  fille  des  champs  qui  au  Conseil  du  Roi  met 
en  deroute  la  sagesse  des  politiques  vieillis  au  maniement  des  affaires? 
La  grande  question  qui  se  posait  alors  etait  moins  de  savoir  comment 
on  chasserait  les  anglais  de  France,  que  de  determiner  1'attitude  a  tenir 
a  l'egard  du  due  de  Bourgogne.  Ce  puissant  vassal  du  roi  le  France 
tenait  entre  ses  mains  les  destines  du  royaume;  la  victoire  definitive 
appartiendrait  aux  anglais  ou  aux  frangais,  suivant  qu'  il  accorderait 
son  appui  aux  uns  ou  aux  autres.  II  etait  trop  puissant  pour  qu'  on 
songeat  a  le  combattre,  or  les  courtisans  allaient  repetant  qu'  il  fallait 
se  1'attacher  par  des  concessions.  Mais  des  concessions,  c'etait  la  de- 
pendance  du  roi,  c'etait  ramoindrissement  du  territoire  royal,  c'etait, 
autant  dire,  une  abdication  partielle.  Sur  ce  point,  Jeanne  n'hesita 
jamais,  du  premier  coup,  elle  avait  compris  le  danger  que  cachait  "la 
paix  de  Bourgogne"  et  elle  reclamait,  comme  gage  de  paix,  la  soumis- 
sion  loyale  et  complete  du  due  au  chef  de  la  famille,  au  Roi  de  France. 
Les  vues  de  la  pucelle  ne  prevalurent  pas  d'abord  et  ce  n'est  que 
plus  tard,  lorsqu'elle  cut  disparu,  que  les  politiques  reconnurent 
qu'elle  avait  raison  et  se  conformerent  a  ses  principes. 

Meme  intelligence  dans  ses  plans  strategiques,  qu'il  s'agisse  de  faire 
passer  les  troupes  royales  a  travers  les  lignes  ennemies,  d'organiser 
une  bataille  d'assieger  ou  de  defendre  une  place,  elle  a  des  idees  simples 


qui  font  sourire  les  vieux  chefs  d'armee,  mais  qui  neanmoins  con- 
duisent  a  la  victoire.  Rien  n'est  plus  significatif  sous  ce  rapport  que  ce 
court  dialogue  avec  Dunoise.  On  organisait  alors  la  delivrance 
d'Orleans.  Jeanne  1'aborde  avec  la  familiarite  et  la  bonhomie  qui  lui 
etaient  ordinaires.  "N'etes-vous  pas,  dit-elle,  le  batard  d'Orleans? — 
Oui,  et  je  suis  ravi  de  vous  voir. — C'est  vous  qui  avez  conseille  de  me 
faire  venir  cote  de  la  Sologne  ?  C'etait  1'avis  des  plus  sages. — Eh  bien  ! 
En  mon  Dieu,  mon  conseil  est  meilleur ;  vous  avez  voulu  tromper  et 
vous  vous  etes  trompe."  On  suivit  done  ses  lonseils  et  1'ou  reussit. 

Mais  la  grande  preoccupation  de  Jeanne,  ce  qu'elle  considerait 
comme  le  but  meme  de  sa  mission  c'etait  le  sacre  du  roi  a  Reims.  Les 
courtisans,  de  laches  opportunistes,  declaraient  que  1'entreprise  etait 
hasardeuse,  impossible ;  Jeanne  la  regardait  comme  1'etape  definitive 
qui  precederait  la  victoire.  Elle  savait  que  le  sacre  du  Roi  ranimerait 
les  courages;  elle  savait  que,  lorsque  le  peuple  aurait  crie  sous  les 
voutes  de  la  vieille  basilique  de  St.-Remi :  "Noel !  Longue  vie  au  Roi 
de  France?"  ces  acclamations  se  repercuteraient  d'  echo  en  echo  jusqu' 
aux  extremites  du  royaume  dissipant  la  crainte,  ramenant  1'espoir  et 
rendant  1'energie  aux  volontes  affaiblies.  L'evenement  lui  donna 
raison  plus  encore  que  la  delivrance  d'Orleans,  le  sacre  du  Roi  a  Reims 
changea  la  face  des  affaires.  Jeanne  avait  admirablement  compris  la 
situation. 

Telle  fut,  Mesdames  et  Messieurs,  1'intelligence  de  Jeanne  d'Arc. 
Si,  par  d'autres  qualites  aimables  on  fortes,  elle  est  le  type  de  la 
femme  en  general  et  de  la  femme  franchise  en  particulier,  par  la 
nettete  de  ses  vues  et  la  clarte  de  ses  idees  elle  represente  un  des 
aspects  les  plus  caracteristiques  du  genie  frangais. 


O     5 


ADDRESS  OF  J.  SANFORD  SALTUS 

HONORARY  PRESIDENT  OF  THE  JOAN  OF  ARC  STATUE  FUND. 

"At  midday,  in  my  father's  garden,  in  the  summer." 

Mr.  President,  ladies  and  gentlemen :  I  quote  those  words  first 
because  something  said  them,  I  don't  know  what,  the  voice  a  long 
time  ago.  I  do  not  understand  what  that  voice  was.  No  one  ever 
will.  It  was  something  that  only  came  to  the  peasant  girl  in  the  low- 
lands of  Lorraine,  and,  at  the  command  of  that  voice,  she  left  her 
home,  her  father's  garden,  where  she  first  heard  it,  the  voice,  and 
went  forward  to  Orleans  to  the  war — you  all  know  that.  And  you 
know  what  France  thinks  of  the  Maid  of  Orleans. 

I  have  seen  perhaps  the  grandest  pageant  of  modern  times  at  Com- 
piegne,  and  when  nobody  seemed  to  know  who  took  the  part  of 
the  king  and  of  the  other  characters  there,  but  it  seems  by  one 
accord  they  selected  a  lady  of  noble  birth  to  take  the  part  of  Joan 
of  Arc.  Probably  some  of  you  have  seen  the  processions  in  Paris, 
long  lines  of  flowers,  far  more  impressing  than  the  roar  of  cannon 
and  the  beating  of  drums.  Mr.  Stover  has  told  us  what  she  is 
thought  of  in  America,  but  here  it  might  be  well  to  say  what  she 
is  thought  of  in  England.  If  there  is  any  place  in  the  world  that  we 
would  not  think  she  would  be  well  thought  of  it  is  in  England,  but 
at  the  pageant  there,  in  London,  in  the  grounds  of  the  Protestant 
Bishop,  it  was  feared  that  if  they  had  Joan  of  Arc  as  one  of  the 
characters  it  might  make  feeling  in  England.  I  was  there  at 
the  opening  day  and  there  was  quite  a  large  representation  of  the 
Army  of  England  scattered  around  before  the  ramparts  of  Orleans. 
They  were  all  deriding  the  girl  that  was  to  come,  calling  her  a  witch, 
and  then  there  was  a  very  little  stir  in  one  part  of  the  field,  and  a 
lady  on  horseback  galloped  forward.  There  was  the  noise  of  battle, 
but  in  a  very  little  while  she  was  victorious,  and  the  banner  of  France 
floated  there  over  the  ramparts,  and  that  English  audience  rose  up 

33 


and  cheered,  as  only  the  English  can,  showing  that  English  fairness 
had  prevailed. 

Then  at  the  Shakespearian  Ball  the  Countess  of  Lytton  took  the 
character  of  Joan  of  Arc  from  Shakespeare's  Henry  VI,  a  play  little 
known  at  that,  and  this  is  one  of  the  most  remarkable  characters  per- 
haps in  Shakespeare,  and  was  very  ably  represented. 

I  happened  to  look  over  that  play  last  night,  and  I  was  very 
much  struck  there  with  the  words  of  Shakespeare,  who  in  his 
prophetic  flight  puts  these  words  into  the  mouth  of  the  King:  "And 
Joan,  the  Pucelle,  shall  be  France's  Saint."  That  was  a  long  time  ago, 
and  within  a  very  few  months  it  is  expected  she  will  be  the  Saint  of 
France. 

Then  at  the  Shakespearian  dinner  of  the  Urban  Club  in  London, 
which  I  had  the  honor  to  attend,  I  spoke  of  the  statue  that  might  be 
erected  of  Joan  of  Arc  in  New  York.  There  was  an  applause  to  that 
remark. 

Then  last  summer  I  went  to  Hasselt,  a  little  town  in  Belgium. 
Every  seven  years  they  have  there  a  pageant  and  festival  of  the  Tree 
of  Jessie;  historical,  biblical  and  legendary  characters  from  pre- 
historic times  are  represented  in  a  long  procession,  and  they  all 
walked,  with  one  exception.  Joan  of  Arc  alone  rode  on  horse- 
back. As  to  the  biblical  characters,  of  course,  they  have  to  go 
into  the  Holy  Land  for  those,  but  I  don't  think,  apart  from  that, 
there  was  any  character  outside  of  Belgium,  except  Joan  of  Arc, 
and  that  was  pretty  near  the  borders  of  Burgundy,  the  country  she 
fought  against. 

I  mention  that  because  Mr.  Stover  spoke  of  places  where  she 
was  well  thought  of  in  America.  Certainly  if  she  is  in  England,  she 
ought  to  be  well  thought  of  here. 

There  is  one  thing  more  I  would  like  to  say  that  you  probably 
will  remember.  When  she  wanted  to  go  to  Orleans,  and  said 
that  she  would  take  the  city,  somebody  said,  "But  God  would  not 
have  us  believe  you,  unless  you  show  us  some  sign ;"  and  she  replied, 
"I  have  not  come  to  give  signs,  but  to  take  Orleans — that  will  be 
my  sign." 

That  is  the  feeling  we  ought  to  have  here.  Dr.  Kunz  will  tell 
you  that  there  are  funds  enough,  and  this  afternoon  you  have  all 
shown  that  there  is  interest  enough,  so  I  think  that  we  will  very 

34 


soon  learn  that  the  statue  is  erected,  and  we  can  take  people  to  see 
it,  and  that  will  be  the  best  sign  that  there  is  an  interest  in  Joan  of  Arc. 
Mr.  Stover  has  said  so  much  about  history  that  I  don't  think  there 
is  much  that  I  can  say,  especially  as  it  is  getting  rather  late.  Everyone 
here,  after  they  have  heard  the  other  speakers,  especially  the  French 
Consul,  who  represents  France,  I  am  sure  will  think  it  will  not 
be  necessary  to  talk  about  the  statue  because  they  will  soon  take  their 
friends  to  the  park  or  somewhere,  and  say,  "That  is  the  statue  that  has 
been  put  up  in  the  City  of  New  York  to  the  Lily  Maid."  (Applause.) 


APPRECIATION   OF   JOAN   OF   ARC 

(WRITTEN  FOR  THE  JOAN  OF  ARC  COMMITTEE.) 

NEMOURS,  January  3,  1913. 

What  can  I  tell  you,  sir,  about  Jeanne  d'Arc?  Everything  has 
been  said  and  written — of  her  all  comes  from  the  heart  and  all  goes 
to  the  heart.  She  was  the  adoration  of  my  youth  and  of  my  middle 
life,  and  she  causes  enthusiasm  in  my  old  age.  Of  her  prodigious 
path  among  men,  no  certain  documents  are  known  other  than  the 
depositions  through  her  own  mouth  at  the  time  of  her  trial  and  the 
less  reliable  depositions  made  in  the  course  of  her  trial  for  rehabilita- 
tion. 

The  rest  is  nothing  but  talk  and  useless  verbiage.  One  writer  only 
has  risen  to  the  height  of  such  a  subject,  the  genial  hallucinated 
Michelet,  in  a  short  recital,  all  vibrating  with  emotion. 

In  tears  he  related  to  us  the  mission,  the  passion  and  the  Calvary 
of  the  humble  country  woman ;  as  admirable  by  her  prodigy  as  by  her 
delicious  and  pitiable  humanity. 

Jeanne  d'Arc  does  not  belong  alone  to  France,  but  also  to  all  those 
whose  thoughts  are  enough  elevated  to  grasp  the  superior  and  the 
beautiful  amidst  goodness. 

BOUTET  DE  MONVEL. 


35 


ADDRESS  OF  DR.  EDWARD  HAGAMAN  HALL 

SECRETARY  OF  THE  AMERICAN  SCENIC  AND  HISTORIC  PRESERVA- 
TION SOCIETY. 

Mr.  Chairman,  Ladies  and  Gentlemen:  I  shall  try  to  express  just 
two  thoughts  which  may  serve  perhaps  as  an  answer  to  those  of  whom 
Commissioner  Stover  spoke,  who  smile  at  this  idea  of  erecting  a 
statue  of  Joan  of  Arc  in  New  York,  and  which  may  also  explain  the 
reason  why  nations  other  than  France  admire  this  character,  as 
Mr.  Saltus  has  said.  For  that  same  question  has  been  asked  of  me: 
"Why  do  we  want  a  statue  of  Joan  of  Arc  in  New  York?"  And  the 
objections  appear  to  be  twofold.  First,  they  say  France  is  so  far  away, 
and  what  do  we  Americans  have  in  common  with  Joan  of  Arc?  The 
second  objection  is  that  of  time :  She  lived  so  long  ago. 

First,  my  answer  is  to  the  geographical  limitation:  Truth  and 
genius  and  goodness  do  not  know  geographical  boundaries.  You  can- 
not draw  an  imaginary  line,  and  set  a  limit  to  the  influence  of  virtue 
and  genius.  Whoever  serves  his  fellowmen  in  any  way  serves  the 
world,  so  that  we  can  claim  a  proprietorship  in  all  of  the  great  men 
and  women  who  have  lived  in  the  past.  England  may  take  particular 
pride  in  Shakespeare  and  Ruskin  and  Dickens,  but  I  think  we  feel  that 
we  have  a  share  of  proprietorship  in  them,  as  much  as  England,  and 
we  do  not  withhold  our  admiration  of  Hugo  and  Moliere,  or  Cervantes, 
or  Michael  Angelo,  or  Goethe,  or  Beethoven,  or  Mozart,  or  William 
of  Orange,  or  Van  Dyke,  because  they  were  foreigners.  No  nation 
can  copyright  her  geniuses  and  prevent  others  from  feeling  their  in- 
fluence, admiring  them  and  striving  to  imitate  them.  So  that  we  of 
America,  and  we  of  New  York,  share  the  culture  of  the  world,  and 
we  have  a  share  in  all  that  was  good  in  Joan  of  Arc. 

Now,  as  to  the  time  limitation:  Every  man  and  woman — I  am 
sorry  we  have  not  in  the  English  language  a  pronoun  which  repre- 
sents both  sexes,  so  we  have  to  use  the  word  "man,"  and  I  mean 
by  that  man  and  woman  —  every  man  serves  his  generation  in 
the  terms  of  the  generation  in  which  he  lives.  I  think  it  was  Taine 

36 


JOAN  OF  ARC  PRAYING  IN  THE  VAUCOULEURS  CHURCH 

From  a  fanciful  engraving 


who  said  that  character  and  the  expression  of  character  depend  upon 
three  great  factors,  namely:  heredity,  environment  and  epoch,  and  by 
epoch  he  meant  that  accumulation  of  human  experience  which  repre- 
sents a  stage  of  civilization  at  any  time.  Joan  of  Arc  expressed  herself 
in  the  terms  of  her  generation.  It  may  be  objected  that  she  was  born 
eighty  years  before  Columbus  discovered  America.  It  was  an  age  of 
inquisition,  it  was  an  age  of  mysticism  and  superstition,  it  was 
when  kings  and  queens  had  a  different  status  than  now.  What  have 
we  in  common  with  her?  The  point  is,  she  expressed  herself  in  the 
terms  of  her  generation.  So  did  George  Washington.  If  George 
Washington  lived  to-day  he  could  not  be  President  of  the  United 
States ;  he  couldn't  be  the  same  George  Washington  and  be  President 
of  the  United  States.  If  he  were  President  of  the  United  States  he 
would  be  a  different  George  Washington.  If  Shakespeare  lived  to-day 
he  could  not  have  put  a  play  on  in  one  of  our  theatres.  We  could 
not  have  had  the  heroism  of  Jack  Binns  one  hundred  years  ago, 
because  the  instruments  with  which  he  expressed  his  heroism  did  not 
then  exist;  but  this  is  the  important  thing,  the  principles  which  lie 
back  of  all  these  manifestations  of  patriotism,  goodness,  truth,  virtue, 
know  no  limitations  of  time,  and  their  influence  is  just  as  strong  to-day 
as  it  was  500  years  ago. 

Joan  of  Arc  was  essentially  a  patriot ;  she  had  ideals  and  she  had 
the  conviction  of  them;  and  she  endeavored  to  lead  the  lawful  rulers 
of  her  time  to  do  their  duty.  And  who  shall  say  we  do  not  need  the 
value  of  such  an  example  to-day  ?  I  believe  every  thinking  person  has 
in  the  chambers  of  his  thoughts  a  Hall  of  Fame  in  which  he  sets  up 
images  of  poets,  and  musicians,  and  patriots,  and  great  men  and 
women  he  admires,  and  I  think  those  a  very  great  influence  on  our 
lives.  And  since  good  examples  are  contagious — as  well  as  bad  ex- 
amples— I  think  it  is  our  duty  to  materialize  those  ideals  in  the  form 
of  statues,  and  set  them  up  outside  of  our  thoughts  in  public  places, 
so  that  they  can  also  influence  other  people. 

And  those  are  the  reasons  why  we  have  this  exhibition  to-day,  those 
are  the  reasons  why  we  want  to  put  up  a  statue  of  Joan  of  Arc  in 
New  York.  (Applause.) 


37 


ADDRESS   OF   DR.  GEORGE  FREDERICK  KUNZ 

PRESIDENT  OF  THE  JOAN  OF  ARC  COMMITTEE. 
(WITH  CHRONOLOGY.) 

Ladies  and  Gentlemen :  It  is  one  of  the  strange  ironies  of  history 
that  those  who  compassed  Jeanne's  destruction  took  great  pains  to  pre- 
serve a  full  and  complete  record  of  her  interrogatories.  While  only  a 
few  fragments  remain  of  the  original  minutes  in  French,  a  complete 
translation  into  Latin  was  prepared  by  Thomas  de  Courcelles,  at  the  in- 
stance of  Pierre  Cauchon,  the  Bishop  of  Beauvais,  Jeanne's  most  im- 
placable enemy.  And  yet  no  nobler  monument  exists  of  the  Maid  of 
Orleans  than  this  very  document,  for  it  reveals  at  once  the  perfidy  of  her 
judges  and  her  own  earnestness,  honesty  and  singleness  of  purpose. 

The  artist  who  wishes  to  represent  the  Maid  of  Orleans  can  no- 
where find  a  better  source  of  inspiration  for  his  task  than  a  perusal 
of  this  record  of  her  trial.  The  old  portraits  and  miniatures  differ 
considerably  from  each  other  and  do  little  more  than  suggest  a  gen- 
eral physical  type;  the  spirit,  the  life,  the  soul,  must  be  drawn  from 
the  simple  and  touching  words  spoken  by  Jeanne  in  answer  to  the 
questions  of  her  judges. 

We  have  several  representations  of  Jeanne  d'Arc  dating  from  an 
early  period,  but  the  most  competent  authorities  believe  that  none  of 
them  can  be  looked  upon  as  portraits  in  the  strict  sense  of  the  term. 
M.  de  Viriville  and  M.  de  Bouteiller,  who  have  written  valuable  mono- 
graphs on  this  subject,  incline  to  the  opinion  that  a  remarkable 
equestrian  statuette,  now  in  the  Musee  de  Cluny,  and  formerly  in  the 
Carrand  and  Odiot  Collections,  gives  us  the  earliest,  and  possibly  the 
most  authentic,  type.  They  believe  that  this  figure,  or  its  prototype, 
was  one  of  those  set  up  for  the  veneration  of  the  faithful  in  many 
churches  throughout  France,  in  the  years  1429  and  1430.  Another 
larger  statuette,  in  the  Musee  de  Cluny,  of  a  similar  type  but  of  later 
date,  came  from  the  Church  of  Montargis.  Such  figures  are  mentioned 
in  the  charges  brought  against  the  Maid  at  her  trial;  however,  when 
questioned,  she  declared  that  only  once  had  she  seen  a  picture  of  herself. 
This  was  at  Arras,  and  was  in  the  hands  of  a  Scotchman ;  but  with  the 
•exception  of  this  statement,  nothing  is  known  of  such  a  portrait. 

38 


'*» 


The  earliest  of  the  miniatures  depicting  the  features  of  Jeanne 
d'Arc  was  expected  in  1451,  and  is  in  a  manuscript  in  the  Bibliotheque 
Nationale,  in  Paris  (MS.  632,  2).  Here  the  Maid  is  figured  standing, 
holding  a  shield  bearing  the  arms  accorded  to  her  family  by  Charles 
VII.  She  has  long,  blond  hair,  falling  down  over  her  shoulders. 
As  the  authentic  descriptions  all  agree  in  the  statement  that  Jeanne 
had  black  hair,  which  she  wore  close-cropped  from  the  time  she 
entered  on  her  military  career,  there  can  be  little  doubt  that  this 
miniature  portrait  is  simply  a  fancy  sketch. 

An  old  municipal  record  states  that  in  1429  there  was  in  Ratisbon 
a  painting  of  "How  La  Pucelle  Fought  in  France,"  and  in  the  Church 
of  St.  Paul  in  Paris,  destroyed  in  1797,  there  is  said  to  have  been 
a  representation  of  the  Maid  in  a  stained-glass  window,  possibly  exe- 
cuted as  early  as  1436.  No  trace  exists  of  the  former  work,  and  the 
description  of  the  latter  indicates  that  it  may  have  been  some  alle- 
gorical figure,  popularly  regarded  as  a  portrait  of  Jeanne. 

Very  naturally,  the  principal  statues  of  the  Maid  of  Orleans  are 
to  be  seen  in  that  city.  Here,  in  1458,  shortly  after  the  proces  de 
rehabilitation  instituted  by  Calixtus  III,  a  monument  was  erected  in 
her  honor,  and  was  placed  upon  the  bridge  across  the  Loire.  Many 
of  the  women  of  Orleans  are  said  to  have  sold  their  jewels  and  devoted 
the  proceeds,  as  well  as  their  savings,  to  this  purpose.  The  monu- 
ment was  of  bronze  and  the  design  was  very  elaborate,  representing 
Christ  on  the  cross,  at  the  foot  of  which  was  the  figure  of  the  Virgin 
Mary,  while  on  the  right  and  left  were  the  kneeling  figures  of  Charles 
VII  and  the  Maid,  both  depicted  in  the  act  of  adoring  the  Redeemer. 
This  monument  was  wrecked  by  the  Protestants  in  1567,  but  it  was 
restored — not  very  successfully,  and  with  many  changes — in  1571. 
From  an  old  print  it  appears  that  in  this  restoration  Jeanne  Dare 
was  represented  kneeling,  and  with  long,  flowing  hair;  she  was  clad 
in  a  complete  suit  of  armor,  wore  large  spurs,  and  bore  a  sword; 
resting  on  the  ground  at  her  side  was  her  helmet,  and  an  upright 
lance  bore  a  pennon  with  the  arms  of  the  City  of  Orleans.  In  the 
disorders  incident  to  the  Revolution,  this  work  was  finally  destroyed, 
the  bronze  being  recast  into  cannon,  one  of  the  pieces  being  named 
"La  Pucelle."  While  we  must  regret  the  destruction  of  a  work  of 
such  historic  interest,  we  cannot  but  feel  that  Jeanne  herself  would 
have  approved  the  use  to  which  the  material  was  put. 

Just  in  front  of  the  new  bridg'e  may  now  be  seen  the  statue  ex- 
ecuted by  Frangois  Gois,  about  the  year  1800.  Here  the  Maid  is  shown 

39 


trampling  upon  a  shield  bearing  the  arms  of  England ;  in  her  right 
hand  she  holds  a  naked  sword,  while  with  her  left  she  presses  the 
oriflamme  to  her  breast,  as  though  in  the  act  of  defending  it  from  the 
enemy.  The  artist  conceived  and  executed  the  work  according  to  the 
classical  standards  prevalent  in  his  time,  and  a  critic  (M.  Buzonniere) 
says  that  we  see  here  "the  Greek  style  improperly  applied  to  a  medieval 
subject." 

On  the  Place  du  Martroi  stands  an  equestrian  statue  of  Jeanne 
d'Arc  by  Foyatier,  which  was  erected  in  1855.  The  Maid  is  fully 
armed  and  is  seated  on  a  steed  of  massive  build.  She  holds  the  reins 
in  one  hand,  the  other  being  outstretched,  while  her  uplifted  face  indi- 
cates that  she  is  seeking  for  grace  and  inspiration  from  above.  The 
statue  is  a  little  over  fourteen  feet  in  height  and  stands  on  a  pedestal 
more  than  fifteen  feet  high. 

Perhaps  the  most  poetic  and  impressive  statue  of  the  French 
heroine  is  that  executed  from  the  design  of  Princess  Marie  d'Orleans, 
daughter  of  Louis.  Philippe.  Two  copies  of  this  exist,  one  in  marble, 
placed  in  the  gardens  of  Versailles,  and  the  other  in  bronze,  erected 
before  the  Hotel  de  Ville  in  Orleans.  The  Maid  is  shown  standing, 
her  head  slightly  bent,  as  though  in  deep  thought ;  her  arms  are  crossed 
upon  her  breast,  and  in  her  right  hand  is  a  small,  naked  sword.  Her 
armor  consists  of  a  breastplate  and  she  wears  a  short  skirt  reaching  to 
the  knees.  On  the  stump  of  a  tree  nearby  rest  her  helmet  and  gaunt- 
lets. The  rustic  simplicity  of  her  expression  is  in  striking  contrast 
with  her  warlike  accoutrements.  In  the  Grand  Salon  of  the  Hotel 
de  Ville  is  a  small  equestrian  figure  of  the  Maid,  also  the  work  of  the 
princess.  Both  horse  and  rider  are  in  the  armor  of  the  fifteenth  cen- 
tury. Jeanne  holds  the  reins  in  her  left  hand  and  a  drawn  sword  in 
her  right ;  she  looks  down  at  a  fallen  Englishman,  who  is  almost  under 
her  horse's  feet.  Her  expression  indicates  a  certain  human  sympathy 
for  the  vanquished,  but  an  unswerving  determination  to  pursue  her 
great  aim. 

The  statue  by  Rude,  in  the  Louvre  Museum,  is  a  remarkable  work 
which  has  been  variously  estimated  by  the  critics.  As  in  the  cele- 
brated picture  by  Bastien-Lepage  the  Maid  is  supposed  to  be  listening 
to  the  Voices  which  announce  her  mission.  Her  head  inclined  slightly 
to  one  side,  her  right  hand  raised  to  the  ear  and  her  nostrils  dilated, 
she  listens  with  rapt  attention  and  seems  to  be  striving  intensely  to 
catch  the  mysterious  accents  scarcely  audible  to  mortal  ears.  With  her 
left  hand  she  seizes  a  helmet  which  rests  on  a  breastplate,  as  though 

40 


>     * 

MH 

w   < 

ffi 

H 


she  were  on  the  point  of  arming  herself  to  obey  the  divine  command. 

The  figure  of  the  Maid  on  the  monument  erected  on  the  Place  du 
Vieux-Marche  at  Rouen  suggests,  in  attitude  and  bearing,  rather  an 
armed  Minerva  than  the  simple  and  earnest  peasant  girl  of  history; 
at  the  same  time  the  face  is  commonplace  and  expressionless. 

The  very  fact  that  none  of  the  statues  heretofore  erected  fully  sat- 
isfies our  ideal  should  be  an  incentive  to  the  production  of  a  better 
work,  and  in  the  City  of  New  York  the  subject  presents  many  diffi- 
culties, and  requires  the  creation  of  a  very  complex  type ;  a  blending  of 
feminine  and  masculine  characteristics,  of  idealistic  and  heroic  quali- 
ties, of  deep  feeling  and  martial  ardor.  Let  us  hope  that  the  artist 
who  may  be  entrusted  with  the  execution  of  this  difficult  task  will  be 
able  to  produce  a  work  at  once  truly  original  and  in  accord  with  the 
best  traditions. 

The  statue  by  Chapu,  exhibited  in  the  Paris  Salon  of  1872  and  now 
in  the  Luxembourg  Museum,  represents  Jeanne  kneeling  with  clasped 
hands,  and  gazing  intently  as  though  seeking  to  imprint  upon  her 
memory  the  celestial  visions  that  appear  to  her.  She  is  shown  in 
peasant  garb,  and  the  noble  simplicity  of  form  and  feature  make  this 
one  of  the  most  satisfactory  representations  of  the  Maid  ever  executed. 

See  Gazette  des  Beaux  Arts,  2d  Ser.,  Vol.  6  (1872),  p.  57. 

In  the  Revue  Archeologique  XI  Annee,  II  Partie  (1854-5),  plate 
257,  fig.  4,  is  a  representation  of  the  old  miniature  painting  by  Poig- 
narre  executed  in  1451.  MS.  in  Bib.  Nat.  Small  and  quaint. 

An  engraving  of  the  ancient  equestrian  statuette  of  Jeanne  d'Arc, 
now  in  Musee  Cluny  in  Paris,  is  given  on  p.  13  of  E.  de  Bouteiller's 
"Notes  Iconographiques  sur  Jeanne  Dare,"  p.  13.  This  is  taken  from 
the  Gazette  des  Beaux  Arts,  1878,  Ser.  II,  Vol.  XVIII,  p.  533. 
Bronze  in  the  collection  of  M.  Odiot.  "La  Pucele  d'Orliens." 

"Jeanne  Dare  listening  to  the  Voices,"  by  Rude,  executed  in  1852, 
now  in  the  Louvre,  originally  designed  to  be  placed  in  the  Luxembourg 
Gardens.  For  illustration  see  Gonse,  "La  Sculpture  Frangaise,"  Paris, 
1895,  p.  281. 

Small  equest.  statue  by  Princess  Marie  d'Orleans,  in  Gazette  des 
Beaux  Arts,  1898,  3d  Ser.,  Vol.  XIX,  p.  439. 

Medal  by  Roty,  Ibid.  p.  440. 

The  well-known  and  equestrian  statue  by  Fremiet,  in  the  Place  des 
Pyramides,  in  Paris,  illustrates  the  difficulty  of  combining  in  one  type 
the  manifold  qualities  requisite  for  a  realization  of  our  ideal  of  Jeanne 

41 


d'Arc.  Still  we  cannot  deny  that  this  work  has  great  artistic  merits 
and  is  very  impressive. 

Illustration  in  Century  for  1878,  Vol.  ii,  p.  722.  Also  in  Gonse, 
"La  Sculpture  franchise,"  Paris,  1895,  p.  295. 

For  those  of  us  who  have  been  endeavoring  during  the  past  two 
years  to  further  the  project  for  the  erection  in  New  York  City  of  a 
statue  of  the  pure  and  sublime  heroine,  Jeanne  d'Arc,  it  is  most  grati- 
fying to  note  the  growing  success  of  the  movement  to  establish  a 
national  holiday  in  France  in  her  honor,  and  the  unanimity  with  which 
the  members  of  the  widely-divergent  political  parties  in  that  country 
are  working  toward  the  attainment  of  this  end.  Here  we  can  see 
the  influence  still  exercised,  after  the  lapse  of  five  centuries,  by  a 
grand  and  noble  personality,  whose  aims  and  motives  during  life  were 
free  from  self-seeking  and  owed  their  origin  solely  to  an  exalted 
patriotism.  It  is  this  that  has  served  to  unite  Radicals  and  Catholics 
in  a  common  effort,  for  this  movement  enlists  the  sympathies  of 
both  in  that  it  appeals  to  the  general  sentiment  of  patriotism  which 
animates  all  Frenchmen,  regardless  of  differences  of  religious  or  politi- 
cal faith.  Hence  it  is  that  the  directors  of  the  political  destinies  of 
the  great  French  Republic  and  the  bishops  and  clergy  of  the  Catholic 
Church  in  that  country  find  here  a  high  and  common  ground  for 
united  action. 

The  recent  celebration  in  Orleans  on  May  8th  of  the  raising  of 
the  siege  of  that  city  by  La  Pucelle  was  marked  with  more  than  the 
usual  ceremony,  because  in  this  year  fell  the  five-hundredth  anni- 
versary of  Jeanne  d'Arc's  birth.  The  processions  were  very  impressive 
and  brilliant,  and  in  one  of  the  market-places  a  reproduction  of  the 
scene  presented  in  a  market  of  the  olden  time  was  offered,  the  stalls 
being  arranged  to  represent  as  clearly  as  possible  those  of  the  early 
fifteenth  century,  and  the  costumes  of  the  vendors  and  their  assistants 
being  also  faithful  copies  of  those  worn  in  that  period. 

Many  of  the  heroic  figures  of  history  appeal  only  to  those  of  their 
own  nationality,  but  Jeanne  d'Arc  is  dear  to  all  true  patriots  the  world 
over ;  and  she  should  be  more  especially  dear  to  our  American  women, 
for  this  noble  example  of  their  sex  gave  the  lie,  nearly  five  hundred 
years  ago,  to  the  trite  assertion  that  while  woman  may  be  tender  and 
true,  she  cannot  be  fearless  and  courageous  in  the  defense  of  the  right. 
For  all  these  reasons  the  project  for  a  monument  to  Jeanne  d'Arc  in 
America  is  not  merely  the  expression  of  an  admiration  for  what  is 

42 


great  and  noble  in  the  past,  but  also  of  the  aspirations  shared  by  a 
majority  of  American  women. 

The  history  of  a  nation  is  a  part  of  its  very  life,  and  only  by 
looking  backward  to  the  beginnings  of  national  life  is  it  possible  to 
rightly  understand  the  significance  of  the  present  and  to  forecast 
the  future.  Even  the  mistakes  made  in  the  past  have  their  educa- 
tional value,  just  as  the  errors  of  youth  contain  a  valuable  lesson 
for  mature  age ;  hence  it  is  impossible  to  exaggerate  the  importance 
of  the  study  of  a  nation's  history.  However,  while  the  printed  page 
speaks  only  to  the  intellect,  the  relics  of  the  past  and  the  spots 
whereon  great  events  transpired  exert  a  much  more  important  in- 
fluence upon  the  mind  and  heart  of  the  beholder. 

Let  us  consider  the  contemporaneous  conditions  and  those  who 
ruled  European  countries  at  the  time  of  Joan  of  Arc. 

During  the  brilliant,  but  all-too-brief  career  of  the  peerless  Maid 
of  Orleans,  France  owned  as  her  legitimate,  though  not  undisputed 
sovereign,  Charles  VII  (1403-1461).  Though  his  anointment  and 
coronation  as  King  of  France  did  not  take  place  until  July  17,  1429, 
his  reign  is  dated  from  1422,  the  year  of  the  death  of  his  imbecile 
father,  Charles  VI  (1368-1422),  and  also  that  of  France's  great  enemy, 
Henry  V  (1387-1422).  England,  however,  owned  allegiance  to  the 
child-king  Henry  VI  (1421-1471),  the  son  of  Henry  V,  who  was  but 
eight  years  of  age  when  Jeanne  raised  the  Siege  of  Orleans.  The 
conduct  of  affairs  was  in  the  hands  of  his  uncles,  John,  duke  of 
Bedford,  as  Regent  of  France,  and  Humphrey,  duke  of  Gloucester, 
as  Protector  of  the  realm  of  England. 

Though  but  a  duchy,  and  theoretically  at  least,  a  feudatary  of  the 
French  crown,  Burgundy  was  at  this  time  virtually  independent,  and 
her  reigning  sovereign,  Philip  the  Good  (1396-1467),  the  father  of 
Charles  the  Bold,  played  a  most  important  part  in  the  drama  of  Jeanne's 
life  as  the  friend  of  England  and  the  enemy  of  France.  Not  long 
after  her  death,  however,  he  changed  his  policy  and  joined  his  forces 
and  interests  with  those  of  Charles  VII. 

Though  but  indirectly  interested  in  the  stirring  events  transpiring 
in  France,  the  German  Emperor,  Sigismund  (1368-1437),  and  the 
Duke  of  Austria,  Albert  V  (d.  1439),  Sigismund's  son-in-law  and  suc- 
cessor in  1438  as  emperor,  undoubtedly  kept  themselves  well  informed 
as  to  the  progress  of  the  war.  There  is  little  cause  to  believe,  however, 
that  a  very  lively  interest  in  the  matter  was  felt  by  another  con- 
temporary, Great  Prince  Vasili  III  (1425-1462),  in  far-away  Moscow, 

43 


where  he  was  entirely  engaged  in  consolidating  and  augmenting  Rus- 
sian power.  Still  less  strong  must  have  been  the  interest  of  the 
Grand  Turk  Murad  II,  who  became  sultan  in  1421,  and  who  fought 
unsuccessfully  against  Scanderbeg  and  Hunyadi. 

The  Italy  of  the  early  part  of  the  fifteenth  century  was  so  busy 
with  its  manifold  internal  dissensions  that  even  such  momentous  events 
as  the  conquest  of  the  greater  part  of  France  by  the  English  and  the 
subsequent  freeing  of  her  territory  from  foreign  domination  did  not 
probably  excite  widespread  interest.  The  Venetian  Republic  had  just 
secured,  by  the  Peace  of  Ferrara,  in  1428,  a  large  increase  of  territory 
gained  in  alliance  with  the  Florentines.  Milan,  then  ruled  by  the 
Visconti,  the  States  of  the  Church,  administered  by  Pope  Martin  V 
(1417-1431)  and  Naples,  were  the  most  influential  geographic  unities 
of  Italy  at  this  time,  outside  of  Venice,  Florence  and  Genoa. 

To  aid  in  a  better  understanding  of  the  collection,  the  following 
chronology  may  be  useful : 

Jeanne  d'Arc  (or  Jeanneton  Dare)  was  born 
at  Domremy,  a  village  partly  in  Lorraine  and 
partly  in  Champagne.  According  to  the  com- 
monly received  chronology,  the  date  of  her 
birth  was January  6,  1412. 

Late  authorities  do  not  venture  to  be  so  pre- 
cise, placing  her  birth  somewhere  between 1410  and  1412. 

Her  father  was  Jacques  d'Arc  (or  Jaqueton 
Dare),  originally  of  Ceffonds  in  Champagne;  her 
mother  was  Isabeau  (Zabillat)  Vouthon,  this  lat- 
ter name  signifying  the  place  of  her  birth,  a  village 
a  league  and  a  half  from  Domremy.  She  bore  the 
surname  Romee,  probably  because  she  had  made 
a  pilgrimage  to  Rome,  or  some  other  distant 
pilgrimage. 

Jeanne  had  three  brothers,  Jacques  (or 
Jacquenim),  Jean  and  Pierre,  and  one  sister, 
Catherine. 

She  first  heard  the  "voices"  when  about  thir- 
teen years  of  age  in 1424  or  1425. 

On  the  first  occasion  she  perceived  a  great 
light  at  her  right  and  heard  a  voice  addressing 
her.  Later  the  figure  of  the  Archangel  Michael 
appeared  to  her  and  later  still  those  of  St.  Cath- 

44 


BISHOP  CAUCHON 


DUKE  OF  BURGUNDY 


COUNT   DE   DUNOIS 


CARDINAL  BEAUFORT 


erine  and  St.  Margaret,  with  whom  she  held  fre- 
quent intercourse,  more  especially  with  St. 
Catherine. 

Charles  VI  of  France,  surnamed  the  Bien- 
Aime,  was  born  in  Paris December  3, 1368. 

He  ascended  the  throne  on  the  death  of  his 
father,  Charles  V,  on September  16,  1380. 

He  became  deranged  when  twenty-four  years 
old  in 1392. 

Charles  VII,  his  son,  surnamed  later  the  Vic- 
torious, was  born  in  Paris February  22,  1403. 

Henry  V  of  England,  son  of  Henry  IV,  was 
born  at  Monmouth  in August,  1387. 

Battle  of  Agincourt  and  overwhelming  defeat 
of  the  French  on October  25,  1415. 

Treaty  of  Troyes,  by  the  terms  of  which 
Henry  V  and  his  heirs  were  to  succeed  to  the 
throne  of  France  after  the  death  of  Charles  VI, 
signed  May  21,  1420. 

Henry  V  married  Catherine,  daughter  of 
Charles  VI June  2,  1420. 

Henry  VI,  son  of  Henry  V  and  Catherine 
of  France,  was  born  at  Windsor December  6,  1421. 

Henry  V  died  at  Bois-de-Vincennes August  31, 1422. 

Charles  VI  died  in  Paris October  21,  1422. 

Jeanne's  first  visit  to  Robert  de  Baudricourt 
to  induce  him  to  take  her  to  the  Dauphin  (Charles 
VII)  was  made  in May,  1428. 

She  was  accompanied  by  her  cousin  by  mar- 
riage, Durand  Lassois. 

Siege  laid  by  the  English  to  Orleans October  12,  1428. 

"Battle  of  the  Herrings,"  severe  defeat  of 
the  French  in  a  sortie  from  Orleans February  12,  1429. 

Jeanne's  second  visit  to  Robert  de  Baudricourt, 
captain  of  Vaucouleurs,  in  the  course  of  which 
she  persuades  him  to  conduct  her  to  the  Dauphin. .  February  13,  1429. 

Jeanne  arrives  at  the  court  of  the  Dauphin 
in  Chinon March  6,  1429. 

Letter    addressed    to    the    Regent    Bedford 

45 


commanding  the  English  to  leave  the  soil  of 

France  March  22,1429. 

Jeanne  enters  Orleans April  29, 1429. 

Defeat  of  the  English  before  Orleans May  7,  1429. 

Here  Jean  was  wounded  by  an  arrow  between 
her  neck  and  shoulder. 

Siege  of  Orleans  raised May  8,  1429. 

Taking  of  Jargeau June  12,  1429. 

Taking  of  Beaugency June  17,  1429. 

Battle  of  Patay,  crushing  defeat  of  the  Eng- 
lish. The  old  hero  Talbot  taken  prisoner June  18,  1429. 

Troyes  opens  its  gates  to  Jeanne  and  the 
Dauphin  July  1 1,  1429. 

They  enter  Rouen July  16,  1429. 

Anointment  and  coronation  of  Charles  VII  in 
the  Cathedral  of  Rheims July  17,  1429. 

During  the  ceremony  Jeanne  stood  alongside 
of  the  king,  holding  her  sacred  banner. 

Unsuccessful  attack  by  the  French  upon  Paris, 
Jeanne  wounded September  8,  1429. 

Taking  of  Saint-Pierre  le  Moustier,  near 
Nevers,  end  of October,  1429. 

Jeanne  lays  siege  to  La  Charite,  but  is  forced 
to  raise  the  siege  toward  the  end  of 1429. 

Jeanne  and  her  family  ennobled  with  the  sur- 
name of  du  Lis December  29,  1429. 

Jeanne  comes  to  the  relief  of  Compiegne,  then 
besieged  by  the  English May  24, 1430. 

She  is  wounded  and  taken  prisoner  in  a 
sortie  on  the  same  day May  24,  1430. 

She  is  delivered  up  to  the  English  by  John 
Duke  of  Luxembourg,  who  received  a  payment  of 
10,000  francs  from  Pierre  Cauchon,  Bishop  of 
Beauvais,  their  intermediary,  in December,  1430. 

She  is  imprisoned  in  a  tower  (now  de- 
molished) of  the  Chateau  of  Rouen December,  1430. 

The  English  give  her  up  to  the  Inquisition  for 
trial January  3,  1431. 

Her  public  examination  in  the  royal  chapel  of 

46 


the  Chateau  of  Rouen  began February  21, 1431. 

Publicly  accused  as  a  heretic  and  witch March  20,  1431. 

Makes  her  submission  to  the  church  and  is  par- 
doned, but  condemned  to  life  imprisonment May  24, 1431. 

She  was  surrendered  by  the  ecclesiastical  au- 
thorities into  the  hands  of  the  English,  yielded  to 
the  temptation  to  reassume  her  male  attire,  which 
she  had  forsworn,  and  was  considered  to  have 
relapsed. 

Jeanne  revokes  her  abjuration,  and  is  con- 
demned as  a  relapsed  heretic  by  Bishop  Cauchon 
and  a  court  of  48  assessors May  29,  1431. 

Burned  at  the  stake  in  the  market  place  of 
Rouen  (Place  du  Vieux  Marche) May  30,  1431. 

Sentence  revoked  by  Pope  Calixtus  III  after 
a  review  of  the  trial July  7,  1450. 

Appeal  addressed  to  the  Holy  See  for  Jeanne's 
beatification  by  Monseigneur  Dupanloup,  Bishop 
of  Orleans,  in 1867. 

Proposal  to  enroll  her  among  the  saints  sol- 
emnly approved  by  Pope  Leo  XIII January  27,  1894. 

Formal  proposal  for  her  canonization  reg- 
istered in February,  1903. 

Declared  Venerable  by  Pope  Pius  X  on  the 
Feast  of  the  Epiphany  (her  birthday) January  6,  1904. 

Decree  of  Beatification  promulgated  by  Pope 
Pius  X April  1 1, 1909. 

A  Mass  and  Office  of  Blessed  Joan  extracted 
from  the  "Commune  Virginum"  have  been  ap- 
proved by  the  Holy  See  for  use  in  the  Diocese  of 
Orleans. 

Founding  of  the  Joan  of  Arc  Statue  Com- 
mittee for  a  statue  in  the  City  of  New  York  by 
George  F.  Kunz  and  J.  Sanford  Saltus December  4,  1909. 

500th  Anniversary  of  the  birth  of  Joan  of  Arc  January  6, 1912. 

Official  opening  of  the  Joan  of  Arc  Statue 
Committee's  exhibition  at  the  American  Numis- 
matic Society January  6,  1913. 

5<Dist   birthday January  6, 1913. 

47 


PROF.  DANIEL   JORDAN 


Je  viens  de  feuilleter  une  liste  des  ouvrages  se  rapportant  a 
Jeanne  d'Arc:  gros  volumes,  brochures,  articles  de  revues,  poemes, 
drames  et  discours,  prose  et  vers,  ecrits  dans  presque  toutes  les 
langues  de  1'Europe :  en  tout  plus  de  deux  mille  titres.  Le  nom  de 
la  Pucelle  d'Orleans  est  associe  a  Goliath,  a  Dieu,  dans  des  titres 
comme :  Dieu  et  la  France,ou  Jeanne  d'Arc ;  Jeanne  d'Arc  et  Goliath. 
On  a  discute  a  1'infini  sa  mission,  ses  visions,  son  proces,  sa  prison, 
ses  juges,  son  martyre,  sa  famille.  On  a  fait  un  atlas  de  ses  voyages 
et  de  ses  expeditions  militaires;  on  a  discute  son  sejour  dans  chacune 
des  villes  ou  elle  a  passe,  de  sorte  qu'il  est  maintenant  possible  de 
faire  un  pelerinage  commengant  a  Domremy  et  se  terminant  sur  la 
place  du  Vieux  Marche  de  Rouen.  D'aucuns  ont  affirme  qu'elle  etait 
lorraine,  d'autres  qu'elle  etait  champenoise ;  d'autres  enfin  ont  nie 
qu'elle  fut  frangaise.  Un  erudit  ambitieux  a  calcule  ce  que  Jeanne 
d'Arc  avait  coute  a  la  France  et  a  1'Angleterre.  Et  cette  liste  de 
deux  mille  titres  est  bien  loin  d'etre  complete.  Innombrables 
sont  les  pages,  documents,  livres,  les  productions  de  1'art,  de  1'esprit 
et  du  coeur,  qui  se  rapportent  a  Jeanne  d'Arc.  II  n'y  a  pas  dans  1'his- 
toire  un  seul  homme,  ayant  disparu  avant  d'avoir  complete  sa 
dix-huitieme  annee,  qui  soit  aujourd'hui  aussi  vivant  que  cette  jeune 
Franchise. 

Si  maintenant  vous  relisez  une  partie  des  pages  de  nos  auteurs, 
inspirees  par  elle,  il  est  une  verite  qui  s'impose :  les  grands  faits 
de  1'histoire  humaine,  presentes  avec  le  simple  respect  de  la  verite, 
.I'emportent  de  beaucoup  en  interet  sur  les  ceuvres  de  fiction,  romans 
ou  drames,  bases  sur  ces  memes  faits,  mais  deformes  par  les  imagi- 
nations les  mieux  intentionnees.  L'histoire  prend  une  place  de  plus  en 
plus  grande  dans  la  litterature  contemporaine,  maintenant  qu'elle  a 
a  sa  disposition  toutes  les  autres  sciences,  ses  servantes,  comme  au 
moyen-age  les  sciences  etaient  les  servantes  de  la  theologie.  Jamais 
cela  n'a  ete  plus  vrai  que  pour  Jeanne  d'Arc.  M.  Hanotaux,  son 
dernier  historien,  s'en  est  rendu  parfaitenment  compte  lorsqu'il  a 


ecrit:  "II  faut  que  tout  ecrivain,  tout  artiste,  qui  touche  a  un  tel 
sujet,  apprenne  a  quel  ridicule  definitif  il  s'expose,  s'il  s'eloigne  de 
la  simple  et  nue  verite."  C'est  precisement  la  ce  qui  fait  la 
superiorite  de  1'ouvrage  de  M.  Anatole  France,  autre  historien  recent 
de  Jeanne  d'Arc,  car  il  s'est  borne  a  exposer,  d'une  main  de  maitre 
et  avec  un  art  consomme,  les  simples  temoignages  de  1'histoire,  c'est 
a  dire  des  faits. 

II  y  a  exactement  un  an,  on  fetait  en  France  le  cinquieme 
centenaire  de  la  naissance  de  Jeanne  d'Arc.  Nous  sommes  aujour- 
d'hui  temoins  que  la  memoire  de  Jeanne  n'est  pas  non  plus  oubliee 
en  Amerique.  Pour  1'Americain  comme  pour  le  Frangais,  le  patrio- 
tisme  n'est  pas  une  affaire  de  race,  mais  1'amour  pour  1'ideal  pur 
et  genereux  qui  est  au  cceur  de  tous  les  vrais  patriotes.  Si  La 
Rochefoucauld  a  dit  que  1'absence  eteint  les  petites  passions  et 
accroit  les  grandes,  on  a  aussi  dit  qu'il  en  est  des  gloires  comme 
des  passions :  seules  les  toutes  grandes  gloires  subsistent  et 
s'accroissent :  temoin  la  gloire  de  Jeanne  d'Arc,  qui  n'a  fait 
qu'augmenter  avec  le  temps.  II  y  a  trois  ans,  Jeanne  a  etc  mise  au 
rang  des  bienheureuses,  par  les  representants  de  la  meme  Eglise 
dont  d'autres  representants  1'avaient  autrefois  condamnee  a  la  mort 
infamante.  Les  catholiques  frangais  n'ont  du  reste  pas  attendu  la 
beatification  de  Jeanne  d'Arc  pour  la  mettre  sur  leurs  autels. 
Catholiques,  protestants,  juifs,  Frangais  de  toutes  les  croyances,  ne 
la  venerent  pas  moins,  et  ne  la  venerent  pas  davantage  non  plus, 
maintenant  que  tardive  justice  lui  a  etc  rendue. 

Comment  expliquer  1'interet  que  notre  age  temoigne  pour  tout  ce 
qui  se  rapporte  a  Jeanne  d'Arc  ?  C'est  qu'a  bien  des  egards  elle  est 
moderne.  Par  toute  sa  vie,  elle  affirme  le  droit  de  vivre  libre  sur 
le  sol  natal.  Elle  fait  la  guerre  a  1'envahisseur.  Elle  proclame 
la  legitimite  de  la  guerre  de  liberation,  centre  le  droit  de  conquete, 
contre  la  guerre  excitee  par  la  convoitise  malgre  les  tres  nobles 
pretextes  toujours  invoques.  On  a  dit  que  Jeanne  personnifie 
le  bon  sens,  le  courage  vif,  la  repartie  prompte,  le  coup  d'oeil 
juste,  la  bonne  humeur,  toutes  qualites  cheres  aux  Frangais:  M. 
Hanotaux  le  reconnait,  et  il  dit  meme  qu'il  est  inutile  d'insister,  tant 
cela  lui  semble  evident.  N'est-elle  pas  bonne,  charitable,  genereuse 
envers  les  pauvres  pendant  son  enfance?  Ne  montre-t-elle  pas 
toute  sa  vie  de  la  sympathie  pour  le  faible  et  pour  le  vaincu  ?  Pen- 
dant sa  periode  de  triomphe,  Jeanne  est  decidee  et  prompte,  sans 


hesitation  et  sans  peur.  Elle  exerce  sur  les  hommes  un  veritable 
ascendant."  Devant  le  triomphe  momentane  de  ses  ennemis,  pen- 
dant son  proces,  au  moment  ou  le  danger  s'affirme  reel,  elle  garde  sa 
presence  d'esprit.  Elle  comprend  et  juge  la  situation.  Elle  em- 
barrasse  ses  juges,  qui  1'avaient  condamnee  d'avance,  parce  qu'elle 
ne  leur  fournit  pas  de  bons  pretextes  a  condamnation.  Elle  est 
maitresse  de  1'ironie,  cette  arme  bien  franchise.  Un  de  ses  juges 
lui  demandait  si  les  saintes  qui  lui  parlaient  s'exprimaient  en  fran- 
gais:  "Mieux  que  vous,"  repondit-elle  a  1'interrogateur  qui  avait 
fortement  1'accent  de  sa  province.  A  1'injustice  elle  oppose  1'ironie 
mordante,  qui  affole  ses  juges,  car  dans  Enumeration  de  leurs  griefs, 
ils  n'oublient  pas  de  1'incriminer  dans  les  termes  suivants :  "Jeanne 
ne  craint  pas  de  parler  sans  respect  des  plus  grands  personnages, 
se  permettant  un  ton  de  moquerie  et  de  derision."  En  un  mot,  sa 
gaiete,  sa  vivacite,  sa  belle  humeur,  ne  la  desertent  presque  jamais. 
A  cet  ideal  plutot  male,  Jeanne  joint  1'ideal  le  plus  aime  de  la  femme, 
la  chastete  et  la  pitie:  chaste  et  pure,  elle  le  fut;  il  lui  repugne 
aussi  de  verser  le  sang  ennemi ;  en  vraie  femme  enfin,  avec  la 
pitie  immense  qu'elle  a  pour  le  roi  et  pour  le  peuple  frangais,  elle 
ne  se  contente  pas  de  regarder  et  de  pleurer,  mais  elle  se  jette 
courageusement  dans  1'action.  Quoi  d'etonnant  a  ce  que  Jeanne 
ait  ete  veneree  en  France  pendant  des  siecles?  Quoi  d'etonnant  a 
ce  que  sa  memoire  soit  veneree  aujourd'hui,  meme  dans  cette  ville 
si  eloignee  du  pays  de  sa  naissance,  ou  nous  esperons  bientot  voir 
un  monument  digne  de  1'idee  que  nous  nous  faisons  de  cette  enfant 
pure? 

Si  Jeanne  d'Arc  est  moderne,si  elle  est  encore  si  appreciee  au  XXe 
siecle,  a  d'autres  egards  elle  appartient  au  moyen-age,  et  pour  cela 
elle  fera  toujours  appel  aux  imaginations  religieuses.  Comme  le 
moyen-age,  elle  a  la  foi  mystique  et  absolue.  Pleine  de  confiance  en 
sa  mission,  brulant  d'un  amour  intense  pour  son  pays  et  pour  le  roi 
qui  le  symbolise,  elle  voulait  parti  au  secours  de  la  France,  "im- 
patiente,  nous  dit  un  contemporain,  comme  une  femme  enceinte  qui 
attend  son  accouchement."  Elle  a  affirme  sa  mission,  a  converti  beau- 
coup  d'indifferents,  y  compris  le  roi  de  France;  elle  1'a  decide  a  agir, 
s'est  mise  elle-meme  a  la  tete  d'une  armee,  a  rempli  de  confiance  les 
soldats  frangais  et  d'epouvante  les  soldats  anglais;  elle  a  delivre 
Orleans  et  fait  sacrer  Charles  VII,  lui  rendant  ainsi  Tappui  moral 
de  la  majeure  partie  de  ses  sujets  catholiques. 


Toute  cette  grande  impulsion  fut  donnee  par  la  Pucelle,  mais  son 
intervention  aurait  pu  etre  reduite  a  neant,  si  Jeanne  n'etait  tombee 
au  pouvoir  des  politiques  anglais  et  bourguignons  qui  la  condamnerent 
a  etre  brulee  vive.  Jugee  par  des  politiques,  condamnee  par  des 
politiques,  du  reste  abandonnee  par  les  politiques  qui  entouraient 
Charles  VII,  sa  mort  a  complete  son  oeuvre.  Transformee  en  martyr, 
Jeanne  morte  a  ete  plus  grande  et  plus  puissante  que  Jeanne  vivante. 
En  refusant  de  reconnaitre  devant  ses  juges  que  la  cause  de  Charles 
VII  n'etait  pas  la  cause  de  la  justice  divine,  elle  a  fait  pour  son 
pays  le  supreme  sacrifice.  On  n'a  pas  eu  tort  de  faire  remarquer  que 
Jeanne  aussi  a  eu  son  Golgotha;  elle  a  eu'elle  aussi'son  moment  de 
defaillance  lorsqu'elle  s'est  ecriee,  en  apprenant  qu'elle  allait  etre 
brulee:  "Mon  corps  net  et  entier  qui  ne  fut  jamais  corrompu  sera 
consume  et  reduit  en  cendres. .  . "  Mais  apres  cela  Jeanne  ne  faiblit 
plus,  et  c'est  la  sa  force.  Un  tel  sacrifice  ne  pouvait  etre  inutile  dans 
un  pays  ou,  comme  Lincoln  en  Amerique,  les  heros  nationaux  sont 
d'abord  ceux  ont  peri  en  luttant  dans  une  grande  cause. 

Pour  comprendre  le  prodige  accompli  par  Jeanne  d'Arc,  il  suffira 
de  rappeler  qu'au  moment  ou  elle  apparait  sur  la  scene,  la  France  est 
divisee,  dechiree  en  deux  grands  partis.  D'une  part  ce  sont  les  par- 
tisans du  jeune  et  indolent  roi  de  France,  Charles  VII.  D'autre  part 
les  partisans  du  due  de  Bourgogne,  un  des  grands  princes  feodaux, 
allie  de  pres  par  la  naissance  a  la  famille  royale  de  France,  allie  par 
le  mariage  a  la  famille  royale  d'Angleterre.  Comme  presque  tous 
les  grands  princes  feodaux  d'alors,  le  due  de  Bourgogne  combattait 
pour  son  agrandissement  personnel,  aux  depens  du  roi  de  France  son 
suzerain.  A  cote  de  ces  deux  partis,  comme  le  troisieme  larron  de 
la  fable,  le  roi  anglais  qui  voulait  la  succession  a  la  couronne  de 
France,  en  vertu  du  pretexte  qu'il  etait  par  les  femmes  1'heritier  direct 
de  Philippe  le  Bel.  En  theorie,  deux  rois  pour  la  France,  deux  maris 
pour  la  meme  femme,  un  de  trop.  En  fait,  1'anarchie:  les  Anglais 
occupaient  plus  de  la  moitie  de  la  France,  et  Charles  VII,  qui  avait 
perdu  ses  plus  belles  provinces,  n'etait  plus  que  le  roi  de  Bourges.  Au 
moment  ou  Jeanne  parut,  la  France  etait  done  dans  une  situation 
desesperee.  Partout  la  guerre  civile,  la  violence,  le  vol,  le  meurtre, 
le  rapt,  la  misere  physique  et  morale.  Les  misereux  n'ont  guere  de 
patriotisme,  et  il  y  avait  une  indifference  presque  generate  au  triomphe 
ou  a  la  defaite  du  parti  national. 

Le  patriotisme  frangais  date  d'avant  Jeanne  d'Arc.     Du  jour  ou 


la  Chanson  de  Roland  avait  commence  a  faire  couler  les  larmes  des 
chatelaines  en  extase  devant  le  troubadour  et  le  trouvere,  a  la  seule 
mention  de  "douce  France,"  il  existait  dans  le  coeur  des  Francois  un 
sentiment  profond  pour  le  sol  natal.  Le  patriotisme  qui  a  commence 
avec  1'amour  du  clocher  et  1'amour  de  la  terre,  vous  savez  que  nos 
populations  frangaises  1'ont  eu.  L'amour  de  la  famille,  de  la  petite 
communaute  qui  vit  autour  du  clocher,  a  ete  si  profond  qu'il  s'est 
senti  a  1'etroit  chez  nous;  il  a  eu  besoin  de  s'etendre  en  dehors  des 
limites  du  village;  il  s'est  epanche  sur  tout  le  pays  ou  Ton  entendait 
le  doux  parler  de  France.  Puis  pendant  les  jours  de  malheur  amenes 
par  la  guerre  de  Cent  Ans,  comme  consequence  des  haines  politiques 
qui  opposerent  province  a  province,  ville  a  ville,  village  a  village, 
il  s'est  fait  une  reaction  profonde.  Le  scepticisme  fit  place  a  1'en- 
thousiasme  national,  le  doute  a  la  foi.  On  se  demanda  si  la  France 
valait  les  sacrifices  que  Ton  avait  faits  et  les  miseres  que  Ton  endurait, 
C'est  alors  que  parut  Jeanne,  qu'elle  reveilla  1'esprit  national,  par  sa 
vie  et  surtout  par  sa  mort,  car  1'idee  de  patrie  avait  un  martyr  de  plus. 
Grace  a  Jeanne,  la  France  a  repris  conscience  d'elle-meme ;  grace  a  elle, 
patrie  est  un  element  necessaire.  Le  patriotisme  frangcais  a  atteint 
son  unite  nationale. 

'Jeanne  a  done  eu  sa  part,  sa  grande  part,  dans  la  creation  ou 
1'evolution  du  patriotisme  moderne,  de  cet  ideal  genereux  qui  con- 
siste  a  s'attacher  aux  nobles  idees  que  represente  un  pays  et  une 
civilisation,  et  tout  en  servant  son  pays  a  servir  I'humanite  dont  la 
patrie  est  un  element  necessaire.  Le  patriotisme  frangais  a  atteint 
une  autre  de  ses  plus  sublimes  expressions  en  1789.  La  France 
d'alors,  par  sa  soif  de  la  liberte,  qu'elle  ne  desirait  pas  pour  elle-meme 
seulement,  mais  dont  elle  voulait  doter  les  autres  pays,  inspire  alors 
a  un  Allemand  le  plus  grand  compliment  qu'un  etranger  puisse  lui 
faire:  "Tout  homme  a  deux  patries,  celle  de  sa  naissance  et  la 
France." 

Honneur  done  au  pays  qui  a  su  inspirer  un  tel  amour  en  dehors  de 
ses  f rontieres !  Honneur  a  Jeanne  d'Arc  qui  restera  en  France  et  a  1'e- 
tranger  le  symbole  du  patriotisme  le  plus  pur!  Honneur  enfin  aux 
citoyens  libres  de  cette  grande  Republique  Americaine  qui  ont  eu 
1'initiative  de  la  genereuse  entreprise  en  1'honneur  de  laquelle  nous 
nous  sommes  reunis  ce  soir  en  si  grand  nombre! 


PICTURES 


! — Joan  of  Arc's  Home.    It  was  located  in  Domremy,  France,  and 
therein  she  was  born.     Modern  photograph. 

2 — Joan  of  Arc  Standing  Outside  Her  Home  in  Domremy.  After 
the  painting  by  P.  Carrier-Belleuse. 

3 — Home  of  Joan  of  Arc  in  Domremy.    From  a  photograph. 
4 — Home  of  Joan  of  Arc;  exterior.    From  a  photograph. 
5 — Home  of  Joan  of  Arc;  exterior.    From  a  photograph. 
6 — Entrance  to  Joan  of  Arc's  House.    From  a  photograph. 

7 — Room  in  which  Joan  of  Arc  was  born  at  Domremy,  France, 
January  6,  1412.  From  a  photograph. 

8 — Room  in  which  Joan  of  Arc  was  born  at  Domremy,  France, 
January  6,  1412.  From  a  photograph. 

9 — The  Vision  of  Joan  of  Arc.  1427.  From  the  painting  by  J.  E. 
Lenepveu,  in  the  Pantheon. 

10 — Joan  of  Arc  Listening  to  the  Voices.  After  the  painting  by 
Bartolini. 

ii — St.  Michael  the  Archangel,  Patron  of  France  and  Bearer  of 
Directions  from  Heaven  to  Joan  of  Arc.  After  the  painting 
by  Raphael. 

12 — Joan  of  Arc  Hearing  Mysterious  Voices.    Fanciful  picture. 

13 — An  Angel  Admonishes  Joan  of  Arc  to  Liberate  France  by  the 
Sword.  From  the  painting  by  J.  E.  Lenepveu. 

14 — "Whither  Goest  Thou,  Jeanne?"  Engraving  from  the  story  of 
Joan  of  Arc  by  Marius  Sepet. 

15 — Joan  of  Arc  Praying.    From  the  painting  by  P.  H.  Flandrin. 

48 


C     > 


1 6— Joan  of  Arc  Receiving  Holy  Communion.  After  the  painting 
by  Maurice  Denis. 

17 — Joan  of  Arc  in  Prayer.  After  a  painting  by  P.  Blanchard,  in 
the  Paris  Salon  of  1911. 

18 — Blessing  Joan  of  Arc's  Flag.    From  the  painting  by  Michel. 

19 — Blessing  the  Standard  (flag)  of  Joan  of  Arc.  After  the  paint- 
ing1 by  Michel. 

20 — Joan  of  Arc  Praying  on  Eve  of  Battle. 

21 — Joan  of  Arc  Praying  in  the  Church  at  Vaucouleurs.  From  a 
fanciful  engraving. 

22 — Joan  of  Arc  Receiving  the  Sword  of  St.  Catherine.  Engraving 
by  Wale. 

23 — Joan  of  Arc  at  the  Head  of  Her  Troops.  After  the  painting  by 
J.  L.  Beuzon. 

24 — Joan  of  Arc  Leaving  Vaucouleurs.  From  the  painting  by  J.  J. 
Scherrer. 

25 — Joan  of  Arc  Leaving  Vaucouleurs  by  the  Gate  of  France. 

Window  in  the  church  of  Vaucouleurs,  the  work  of  the  Cath- 
olic Institution. 

26— Joan  of  Arc  Holding  Her  Banner.    Fanciful  picture. 

27 — Joan  of  Arc  Leaving  Vaucouleurs.  From  the  painting  by  J.  E. 
Lenepveu. 

28 — Joan  of  Arc  Leading  Troops  to  Battle.  After  the  painting  by 
J.  L.  Beuzon. 

29 — Joan  of  Arc  Welcomed  by  the  Crowds.  From  the  painting  by 
J.  E.  Lenepveu. 

30 — Ruins  of  the  Hall  of  the  Palace  at  Chinon,  where  Joan  of  Arc 
First  Met  Charles  VII.  Photograph. 

31 — Joan  of  Arc  at  the  Palace  of  Chinon,  Recognizing  the  Young 
King  Charles  VII  Among  the  Officials.  Bas-relief  by  Vital- 
Dubray,  of  the  statue  in  the  Place  du  Martroi,  at  Orleans. 

32 — Grand  Hall  of  the  Palace  at  Chinon.  From  the  painting  by  P. 
Carrier-Belleuse. 

49 


33 — Joan  of  Arc  Addressing  Charles  VII.,  by  Inspiration.  En- 
graving by  J.  Galland  from  drawing  by  H.  Singleton. 

34 — Joan  of  Arc  Presented  to  Charles  VII.,  in  the  Palace  Hall  at 
Chinon,  February,  1429.  Engraving  by  Aristide  Cholet  from 
the  painting  by  Papety. 

35 — Joan  of  Arc's  Entrance  into  Orleans.  After  the  painting  by 
Bartolini. 

36— Cathedral  at  Orleans,  where  Joan  of  Arc  came  to  give  thanks 
to  God  after  the  deliverance  of  Orleans.  From  a  photograph. 

37 — Joan  of  Arc  Charging  the  Enemy.  From  the  painting  by 
Jacques  Courtois  (called  "The  Bourguigncm"),  in  the  Joan  of 
Arc  Museum  at  Orleans. 

38 — House  Occupied  at  Orleans  by  Joan  of  Arc.  From  a  photo- 
graph. 

39 — Joan  of  Arc  Entering  Orleans  Victorious.  From  the  painting 
by  J.  J.  Scherrer. 

40— Capture  of  the  Fortress  by  Joan  of  Arc,  May  7,  1429.  From 
the  painting  by  J.  E.  Lenepveu. 

41 — Joan  of  Arc  at  the  Battle  of  Orleans.  From  the  painting  by 
P.  Carrier-Belleuse. 

42 — Patay  Battlefield;  June  18,  1429,  when  Joan  of  Arc  Gained 
the  Great  Victory.  After  the  painting  by  P.  Carrier-Belleuse. 

43 — The  Cathedral  of  Rheims.    From  a  photograph. 

44 — Coronation  of  King  Charles  VII.,  in  the  Cathedral  of  Rheims, 
July  17,  1429.  Bas-relief  by  Vital-Dubray ;  part  of  the  statue 
in  the  Place  du  Martroi,  at  Orleans. 

45 — Joan  of  Arc  Bearing  Her  Banner  at  the  Coronation  of  King 
Charles  VII.,  at  Rheims,  July  17,  1429.  From  the  painting 
by  Ingres,  in  the  Museum  of  the  Louvre. 

46— The  Coronation  in  Notre  Dame  Cathedral,  Rheims,  July  17, 
1429.  After  the  painting  by  Bartolini. 

47 — Coronation  of  King  Charles  VII.,  of  France,  in  the  Cathedral 
of  Rheims,  July  17,  1429.  From  the  mural  painting  in  the 
Pantheon,  by  J.  E.  Lenepveu. 

50 


48 — Joan  of  Arc  Watched  by  an  Angel  During  Her  Sleep.  From 
the  painting  by  G.  W.  Joy. 

49 — Joan  of  Arc  Holding  Her  Banner  at  the  Coronation  of  Charles 
VII.  After  the  painting  by  Ingres,  in  the  Louvre  Gallery. 

50 — Coronation  of  Charles  VII.,  in  the  Cathedral  at  Rheims,  July 
17,  1429.  After  the  painting  by  Bartolini. 

51 — Coronation  of  Charles  VII.  After  the  mural  painting  in  the 
Pantheon,  by  J.  E.  Lenepveu. 

52 — Coronation  of  Charles  VII.  Engraving  by  Joh.  Demare,  after 
the  painting  by  Vinchon. 

53 — Rheims  Cathedral,  where  Charles  VII.  of  France  was  Anointed 
King,  July  17,  1429.  After  the  painting  by  P.  Carrier- 
Belleuse. 

54 — Storming  of  Compiegne,  May  24,  1430.  From  the  painting  by 
P.  Carrier-Belleuse. 

55 — Cathedral  of  Notre  Dame  at  Paris.    From  a  photograph. 

56 — Joan  of  Arc  is  Wounded  in  the  Thigh  by  a  Dart  from  a  Cross- 
bow, and  Taken  Prisoner  by  the  Duke  D'Alengon,  in  the 
Battle  at  Compiegne,  May  24,  1430.  Bas-relief  by  Vital- 
Dubray ;  part  of  the  statue  in  the  Place  du  Martroi,  at  Orleans. 

57 — Joan  of  Arc,  Surrounded  by  Soldiers  at  Compiegne,  Defends 
Herself  Bravely.  From  the  painting  by  J.  E.  Lenepveu. 

58 — Parish  Church  of  St.  Jacques,  at  Compiegne.  Engraved  by 
Fossard. 

59 — Cathedral  of  St.  Gatien  at  Tours.  Engraved  by  W.  H.  Capone 
from  the  drawing  by  T.  Allom. 

60 — Joan  of  Arc  in  Paris  at  the  Head  of  Her  Army.  From  the 
painting  by  P.  Carrier-Belleuse. 

6 1 — Joan  of  Arc  a  Prisoner  at  Compiegne,  on  the  evening  of  May 
24,  1430.  From  the  painting  by  Patrois. 

62 — Tower  of  the  Dungeon  of  the  Castle  of  Philip  Augustus, 
at  Rouen,  wherein  Joan  of  Arc  Was  Confined.  From  a 
modern  photograph. 

51 


63 — The  Castle  of  Philip  Augustus,  wherein  Joan  of  Arc  Was  Im- 
prisoned, Dec.  25,  1430,  to  May  31,  1431.  Photograph  of  an 
old  drawing. 

64 — Joan  of  Arc,  Going  to  the  Trial,  Prostrates  Herself  Before 
the  Holy  Sacrament.  Engraving  by  Marius  Sepet. 

65 — Tower  "Joan  of  Arc"  at  Rouen.    Modern  photograph. 

66 — Tower  of  Joan  of  Arc;  Remains  Discovered  in  1908.  From  a 
photograph. 

67 — Remains  of  the  Tower  Destroyed  in  1809,  Discovered  in  April, 

1908.  From  a  photograph. 

68 — Joan  of  Arc,  in  Prison  at  Rouen  and  Held  in  Chains,  is 
Insulted  by  Her  Jailers.  Bas-relief  by  Vital-Dubray ;  part  of 
the  statue  in  the  Place  du  Martroi,  at  Orleans. 

69 — Cathedral  of  Rouen.  Engraving  Aus  d.  Kunstanst  d.  Bibl.  Inst. 
in  Hildbh.  Eigenthum  d.  Verleger. 

70— Last  Communion  of  Joan  of  Arc.  From  the  painting  by  Michel. 

71 — Joan  of  Arc  Being  Burned  at  Rouen,  May  30,  1431.    From  the 
painting  by  J.  E.  Lenepveu,  in  the  Pantheon. 

72 — Burning  of  Joan  of  Arc  at  Rouen.  From  the  fresco  in  the 
Pantheon,  by  J.  E.  Lenepveu. 

73 — Cathedral  of  Rouen;  commenced  in  1202;  towers  erected  in 
1487,  and  the  facade  in  1509;  spires  destroyed  in  1514  and 
1822;  reconstructed  1824.  From  a  photograph. 

74 — Death  of  Joan  of  Arc,  May  30,  1431. 

75 — Burning  of  Joan  of  Arc  at  Rouen,  France,   May  30,   1431. 

From  the  painting  by  Bartolini. 

76 — Burning  of  Joan  of  Arc  at  Rouen,  May  30,  1431.  From  the 
painting  by  P.  Carrier-Belleuse. 

77 — At  the  Instant  Joan  of  Arc  Died,  Rouen,  France,  May  30, 
1431,  an  English  Soldier  Beheld  a  White  Dove  Take  Flight 
to  Heaven.  From  the  painting  by  J.  E.  Lenepveu. 

78 — Pronouncing  the  Panegyric  at  St.  Peter's  in  Rome,  April  19, 

1909.  From  a  photograph  of  the  scene. 

52 


KING  HENRY  VI.,  OF  ENGLAND 
From  engraving  by  P.   Vanderbanck 


79 — Ceremony   of   Beatification,    interior   of   St.   Peter's,   Rome, 
April  19,  1909.    From  a  photograph. 

80 — Beatification  of  Joan  of  Arc.    From  a  photograph. 

81 — Glorification  of  "Joan  of  Arc.    From  the  painting  by  Bartolini. 

82 — Chancel  of  St.  Peter's  on  Day  of  Beatification.    From  a  photo- 
graph. 

83 — Audience  at  the  Beatification  in  St.  Peter's.     From  a  photo- 
graph. 

84 — Pope  Pius  X  in  Act  of  Beatification.    From  a  photograph. 

85 — Mgr.  Touchet  Reading  Discourse  at  the  Beatification.    From 
a  photograph. 

86 — Pope  Pius  X  Giving  His  Benediction.    From  a  photograph. 
87 — Pope  Pius  X  Blessing  the  Flag  of  France.  From  a  photograph. 
88 — Joan  of  Arc  Glorified.    From  the  painting  by  Bartolini. 

89 — Scene  Before   St.  Peter's  on  the   Day  of  the   Beatification. 

From  a  photograph. 

90 — Reading  the  Beatification  Warrant,  April  19,  1909.     From  a 
photograph. 

91 — Audience  of  Franciscans  in  St.  Peter's.    From  a  photograph. 
92 — Pontification  by  the  Bishop  of  Orleans.    From  a  photograph. 

93 — Discourse  by  Mgr.  Touchet,  in  St.  Peter's.     From  a  photo- 
graph. 

94 — Response  by  Pope  Pius  X.    From  a  photograph. 

95 — Pope  Pius  X  in  Adoration,  at  St.  Peter's. 

96— Procession  on  Joan  of  Arc  Day.    From  a  photograph. 

97 — Pope  Pius  X.    Pontiff  of  Beatification  of  Joan  of  Arc. 

98 — Pope  Pius  IX.    During  his  pontificate  the  cause  was  introduced. 

99 — Pope  Leo  XIII.    Under  his  pontificate  Joan  of  Arc  was  declared 
to  merit  being  enrolled  among  the  saints. 

53 


ioo — Cardinal  Ferrata.  He  sustained  the  cause  of  Joan  of  Arc  at 
Rome. 

101 — R.  P.  Hertzog.    He  presented  the  cause  of  Joan  of  Arc  at  Rome. 

102 — Mgr.  Touchet,  Bishop  of  Orleans.  He  continued  the  cause  of 
Joan  of  Arc  with  indefatigable  zeal. 

103 — Mgr.  Dupanloup.    Inaugurator  of  plan  to  canonize  Joan  of  Arc. 

104 — Cardinal  Couillie.  Successor  to  Mgr.  Dupanloup  as  Bishop  of 
Orleans. 

105 — Henry,  Cardinal  Beaufort,  Bishop  of  Winchester.  Was  born 
in  Beaufort  Castle,  Anjou;  died  at  Winchester,  Eng1.,  April 
u,  1447.  He  was  president  of  the  court  which  sentenced 
Joan  of  Arc.  Engraved  by  J.  Parker,  from  original  picture 
in  the  collection  of  Hon.  Horace  Walpole,  Strawbery  Hill. 

106 — John,  Duke  of  Bedford.  He  was  the  third  son  of  King  Henry 
IV.,  of  England;  born  June  20,  1389;  died  at  Rouen,  Sept.  14, 
1435 ;  was  the  English  Regent  for  France  at  the  time  both 
Henry  VI.  and  Charles  VII.  aspired  to  the  throne.  Engraved 
by  Basan  from  the  drawing  by  Vertue. 

107 — Philip,  Duke  of  Burgundy,  Le  Bon  (The  Good)  ;  also  called 
"le  Hardi,"  "Philippe  Le  Hardy"  and  Filippo  duca  di  Bor- 
gogna.  He  was  born  at  Dijon,  France,  1396;  died  at  Bruges, 
1467.  As  Regent  of  France  he  signed  the  treaty  of  Troyes  in 
1420,  and  was  allied  with  England  against  Charles  VII.  An 
engraving. 

1 08 — Philippe  le  Hardy,  Duke  of  Burgundy.    Engraving  by  Droyer. 

109 — Count  de  Dunois,  John  of  Orleans,  surnamed  "The  Bastard 
of  Orleans.  He  was  born  at  Paris,  Nov.  23,  1402 ;  died  at  St. 
Germain-en-Laye,  near  Paris,  Nov.  24,  1468;  natural  son  of 
Louis,  Duke  of  Orleans,  and  Mariette  d'Enghien ;  defended 
Orleans,  1428-29;  conquered  Normandy  and  Guienne  from  the 
English.  Engraved  by  Gaillard,  after  the  painting1  by  F.  W. 

no — Duke  of  Burgundy,  Count  de  Dunois.    An  engraving. 

in — John  of  Orleans,  Premier  Comte  de  Dunois.    An  engraving. 

112 — Bastard  of  Orleans,  Dunois.  Natural  son  of  Louis,  Duke  of 
Orleans.  Engraved  by  Harding  from  a  portrait  in  Mont- 
faucon. 

54 


ii3 — King  Charles  VI.,  of  France.  Surnamed  "The  Well-Beloved" 
(le  Bien-Aime),  was  born  at  Paris,  Dec.  3,  1368;  died  at 
Paris,  Oct.  21,  1422;  son  of  King  Charles  V.;  reigned  1380- 
1422;  being  a  minor  at  his  accession,  the  regency  was  con- 
ducted by  his  uncles,  the  dukes  of  (^yaJSSL-SSlkxffl^LJSi. 
Berry;  assumed  government  in  1388;  became  deranged  in 
1392,  whereupon  a  dispute  for  power  arose  between  the  Duke 
of  Burgundy  and  the  King's  brother,  the  Duke  of  Orleans,  the 
former  (who  died  in  1404)  gaining.  Jean,  son  of  Duke  of 
Burgundy,  procured  the  murder  of  the  Duke  of  Orleans  in 
1407,  and  civil  war  resulting,  Henry  V.  of  England  invaded 
France,  defeating  the  French  at  Agincourt,  Oct.  25,  1415,  and 
supported  by  Queen  Isabella,  the  Burgundians  concluded  a 
treaty  with  Henry  V.,  at  Troyes,  May  21,  1420,  by  which  he 
was  to  be  king  of  France  on  the  death  of  King  Charles  VI. 
He  married  Isabella  of  Bavaria.  Engraving  from  the  collec- 
tion of  Mons.  da  Val. 

114 — Queen  Isabella,  of  France.  Isabeau  de  Baviere  became  the 
wife  of  King  Charles  VI.  Instead  of  favoring  the  cause  of 
her  son,  Charles  VII.,  of  France,  she  espoused  that  of  her 
grandson,  King  Henry  VI.,  of  England.  She  was  born  in 
1371 ;  died  in  1435.  An  engraving. 

115 — King  Charles  VI.,  of  France.    Engraving  by  Pannier. 

1 1 6— Queen  Isabella,  of  France.  Engraving  by  Derly  from  a  draw- 
ing by  Deveria. 

117 — King  Charles  VI.,  of  France.  Engraving  by  Pinssio  from  a 
drawing  by  Boizot. 

n8 — Queen  Isabella,  of  France.  Engraving  by  De  Bee,  in  Mezeray's 
"History  of  France." 

119 — King  Charles  VI.,  of  France.  Engraving  by  Jones  from  a 
drawing  by  Singleton. 

120 — Queen  Isabella,  of  France.  Engraving  by  Masson  from  a  draw- 
ing by  Philippoteux. 

121 — Hat  of  the  Type  Worn  by  Joan  of  Arc.  Following  an  authentic 
contemporaneous  description. 

122 — Joan  of  Arc.    An  old  engraving. 

123 — Joan  of  Arc.  From  Kate  D.  Sweetser's  "Ten  Girls  from  His- 
tory," Duffield  &  Co. 

55 


124 — Joan  of  Arc.    Engraving  by  R.  Page ;  pub'd  by  J.  Robins  &  Co., 
London,  1821. 

125 — Joan  of  Arc.    Engraving  by  Pollit,  from  painting  by  J.  Ingres 
in  1846. 

126 — Joan  of  Arc.  An  engraving. 

127 — Joan  of  Arc.  Engraving,  J.  M.  Wright. 

128 — Joan  of  Arc.  Engraving  by  S.  Hollyer,  after  J.  Champagne. 

129 — Joan  of  Arc.  Engraving  by  Geoffrey  from  drawing  by  G.  Staal. 

130 — Joan  of  Arc.  Fanciful  figure  in  armor. 

131 — Joan  of  Arc.  Fanciful  figure  in  armor. 

132 — Joan  of  Arc.  Fanciful  figure  in  armor. 

133 — Joan  of  Arc.  Engraving  by  J.  C.  Buttre. 

134 — Joan  of  Arc.  An  engraving. 

X35 — Joan  of  Arc.  Engraving  by  S.  S.  Cowperthwait 

136 — Joan  of  Arc.  An  engraving. 

137 — Joan  of  Arc.  Engraving  by  W.  Marshall. 

138 — Joan  of  Arc.  Engraving  by  Hinchliff,  after  Lecurieux. 

139 — Joan  of  Arc.     Engraving  by  Mackenzie  from  an  original  in 
the  town  of  Orleans;  pub'd  by  T.  Hurst,  London,  1803. 

140 — Joan  of  Arc.     Engraving,  pub'd  by  Neele  &  Stockley,  London. 

141 — Joan  of  Arc.     Engraving  by  Mackenzie  from  an  original  draw- 
ing; pub'd  by  Vernor  &  Hood,  in  1803. 

142 — Joan  of  Arc.  An  engraving. 

143 — Joan  of  Arc.  Engraving  by  Bien. 

144 — Joan  of  Arc.  Engraving  by  M.,  London. 

145 — Joan  of  Arc.  An  old  engraving. 

146— Joan  of  Arc.     Engraving  by  N.  Le  Mire,  after  an  old  painting 
in  the  Hotel  de  Ville  at  Orleans. 

147 — Joan  of  Arc.     An  old  engraving. 

56 


KING  CHARLES  VII.,  OF  FRANCE 
From  engraving  in  an  old  history 


148 — Joan  of  Arc.     Engraving1  by  G.  S.  Gaucher. 

H9 — Joan  of  Arc.     Engraving  by  R.  Cooper,  from  an  old  print  by 
Marcenay. 

150 — Joan  of  Arc.  Engraving  by  G.  S.  Gaucher. 

151 — Joan  of  Arc.  Engraving  by  R.  Delvaux. 

152. — Joan  of  Arc.     An  old  engraving. 

J53 — Joan  of  Arc.  Engraving  by  Beisson. 

154 — Joan  of  Arc.  Old  engraving  by  B.  Moncornet. 

155 — Joan  of  Arc.  Engraving  by  W.  N.  Gardiner;  pub'd  by  E. 
Harding,  London,  1790. 

156— Joan  of  Arc.  Engraving  pub'd  by  James  Sindee,  London,  1807. 

157 — Joan  of  Arc.  Engraving1  by  Schubert. 

158 — Joan  of  Arc.  Engraving  pub'd  by  Furne,  Paris. 

159 — Joan  of  Arc.  Engraving  by  Audibran ;  pub'd  by  Furne,  Paris. 

1 60 — Joan  of  Arc.  Engraving,  Rosmaster,  Dresden. 

161 — Joan  of  Arc.  Engraving  by  J.  Pass,  after  the  picture  by 
Godefroy. 

162 — Joan  of  Arc.     Engraving  by  Mackenzie  from  original  drawing. 
163 — Joan  of  Arc.     Pencil  drawing  by  Juliette  Desgrany,  1868. 
164 — Joan  of  Arc.     An  old  engraving. 
165 — Joan  of  Arc.    Engraving  by  Colin  after  picture  by  Jules  Uzanne. 

1 66— King  Henry  VI,  of  England.  He  was  born  at  Windsor,  Eng1., 
Dec.  6,  1421 ;  died  at  London,  May  21,  1471 ;  reigned  1422-61 ; 
son  of  King  Henry  V  and  Catherine  of  France;  succeeded  to 
the  throne  at  the  age  of  9  months,  under  protectorship  of  his 
uncle,  John,  Duke  of  Bedford,  it  being  exercised  by  Bedford's 
brother,  Humphrey,  Duke  of  Gloucester,  during  Bedford's 
absence  as  regent  in  France;  crowned  King  of  France  at 
Paris,  Dec.  16,  1430,  in  accordance  with  the  treaty  of  Troyes; 
but  by  1453  had  lost  all  his  possessions  in  France  except 
Calais,  in  consequence  of  the  successes  of  Joan  of  Arc. 
He  married  Margaret,  daughter  of  Rene,  titular  King  of 
Naples,  and  in  1453  was  stricken  with  insanity. 

57 


167 — King  Henry  VI.,  of  England.    Engraving  by  P.  Vanderbanck, 
after  the  picture  by  E.  Lutterell. 

168 — King  Henry  VI.,  of  England.    Engraving  by  Chambers. 

169 — King  Henry  VI.,  of  England.    Engraving  by  W.  N.  Gardner, 
after  the  picture  by  S.  Harding. 

170 — King  Henry  VI.,  of  England.    Engraving  by  R.  Sheppard. 

171 — King  Henry  VI.,  of  England.    Engraving  pub'd  by  S.  A.  Oddy, 
London. 

172 — King  Henry  VI.,  of  England.     Engraved  by  Vertue. 

173 — King  Henry  VI.,  of  England.     Engraving  by  Rhodes;  pub'd 
in  1803,  by  J.  Wallis,  London. 

174 — King  Henry  VI.,  of  England.     Engraved  by  J.  Thornthwaite ; 
pub'd  in  1788,  by  T.  Cadell,  London. 

175 — King  Henry  VI.,  of  England.     Engraving. 

176 — King  Henry  VI.,  of  England.     Engraving  by   J.    Chapman; 
pub'd  in  1799,  London. 

177 — King  Henry  VI.,  of  England.     Old  engraving. 

178 — King  Henry  VI.,  of  England.    Engraving1  by  G.  Gabrielli,  after 
his  own  drawing;  pub'd  in  1875,  by  Eton  Williams  &  Son. 

179 — King  Henry  VI.,  of  England.    Engraving  by  A.  W.  Warren; 
pub'd  in  1803,  by  J.  Stratford,  London. 

1 80 — King  Henry  VI.,  of  England.    Engraving  from  a  painting  on  a 
panel  at  Kensington  Palace. 

181 — King  Henry  VI.,  of  England.    Engraving  by  W.  Ridley  for  C. 
Cooke,  London,  from  the  painting  in  Kensington  Palace. 

182 — King  Henry  VI.,  of  England.    Engraving  by  B.  Reading;  pub'd 
in  1793,  by  T.  Cadell,  London. 

183 — King  Henry  VI.,  of  England.    Engraving  by  White  in  an  old 
English  book. 

184 — King  Henry  VI.,  of  England.     Engraving  from  an  old  book 
printed  in  England. 

58 


185 — King  Henry  VI.,  of  England.  Engraving  pub'd  in  1801,  by 
Edward  Harding,  London. 

1 86 — King  Henry  VI.,  of  England.    Engraving  from  an  old  book. 
187 — King  Henry  VI.,  of  England.    Engraving  from  an  old  book. 

188 — King  Henry  VI.,  of  England.  Engraving  by  Rogers,  from  a 
drawing  by  Vertue. 

189 — King  Henry  VI.,  of  England.  Engraving  from  a  very  old  book. 

190 — King  Charles  VII.,  of  France.  Surnamed  "The  Victorious" 
(le  Victorieux),  son  of  King  Charles  VI.,  was  born  at  Paris, 
Feb.  22,  1403 ;  died  at  Mehun-sur-Yevre,  near  Bourges, 
France,  July  22,  1461 ;  reigned  1422-61.  On  his  accession  he 
found  a  rival  in  Henry  VI.,  of  England,  who  claimed  the 
crown  by  virtue  of  the  treaty  of  Troyes.  The  English  were 
masters  of  the  entire  country  north  of  the  Loire,  including  the 
capital,  and  in  1428  invested  Orleans,  which  was  delivered  by 
Joan  of  Arc  in  1429.  He  was  crowned  at  Rheims,  France,  on 
July  17,  1429,  and  entered  Paris  in  1436.  He  married  Marie 
d'Anjou,  and  his  mistress  was  Agnes  Sorel. 

191 — King  Charles  VII.,  of  France.  Engraving  from  an  old  history. 

192 — King  Charles  VII.,  of  France.  Engraving  from  an  old  book. 

193 — King  Charles  VII.,  of  France.  Engraving  from  an  old  book. 

194 — King  Charles  VII.,  of  France.  Engraving  from  an  old  book. 

195 — King  Charles  VII.,  of  France.  Engraving  from  an  old  book. 

196 — King  Charles  VII.,  of  France.  Engraving  from  an  old  book. 

197 — King  Charles  VII.,  of  France.  Engraving  from  an  old  book. 

198 — King  Charles  VII.,  of  France.  Engraving  from  an  old  book. 

199 — King  Charles  VII.,  of  France.  Engraving1  by  P.  Thomson  after 
the  drawing  by  Boizot. 

200 — King  Charles  VII.,  of  France.  Engraving  published  in  1805, 
by  J.  Wilkes,  London. 

201 — King  Charles  VII.,  of  France.  Engraving  by  Pinssio,  from  the 
drawing  by  Boust. 

202 — King  Charles  VII.,  of  France.    An  old  engraving. 

59 


203 — King  Charles  VII.,  of  France.    Engraving  by  B.  Moncornet. 

204 — King  Charles  VII.,  of  France.  Engraving  from  the  collection 
of  Clement  Gressier,  Paris. 

205 — King  Charles  VII.,  of  France.  Engraving  from  La  Veu  Hu- 
rand,  Paris. 

206 — King  Charles  VII.,  of  France.  Engraving  by  B.  L.  Prevost 
from  the  drawing  by  C.  N.  Cochin's  son. 

207 — King  Charles  VII.,  of  France.    An  old  engraving. 

208 — Due  d'Anjou,  Father  of  Marie  d'Anjou,  the  wife  of  King 
Charles  VII.  An  old  engraving. 

209 — King  Charles  VII.,  of  France.    An  old  engraving. 

210 — Duchesse  d'Anjou.  Mother  of  Marie  d'Anjou,  the  wife  of 
King  Charles  VII.  An  old  engraving. 

211 — King  Charles  VII.,  of  France.    Engraving  by  Pannier. 

212 — King  Charles  VII.,  of  France.  Engraving  by  Charles  Witt- 
mann. 

213 — King  Charles  VII.,  of  France.  Engraving  by  Marcenay,  from 
portrait  owned  by  Marquis  de  Brancas. 

214 — Marie  d'Anjou,  Queen  of  France;  wife  of  Charles  VII.    An  old 

engraving. 

215 — King  Charles  VII.,  of  France.  Engraving  by  Le  Maitre  after 
the  drawing  by  Vernier. 

216 — Marie  d'Anjou,  Queen  of  France;  wife  of  Charles  VII.  An 
old  engraving1. 

217 — Agnes  Sorel.  She  was  the  favorite  mistress  of  King  Charles 
VII.,  of  France;  born  at  Fromentau-Touraine,  about  1409; 
died  near  Jumigny,  Feb.  9,  1450;  was  brought  up  with  Isa- 
bella, the  wife  of  Rene  d'Anjou;  her  influence  over  the  King 
was  generally  beneficial.  Engraving  from  an  ancient  portrait. 

218 — Agnes  Sorel.  Engraving  by  Swebach  after  the  painting  by 
Mme.  Colin. 

219 — Agnes  Sorel.    Engraving  from  "Vieux  Chateaux  de  France." 

60 


AGNES  SOREL 
From  an  engraving  by  Metzmacher,  i{ 


220 — Agnes  Sorel.    Engraving  by  C.  T.  Riedel  after  the  drawing  by 
A.  Desenne. 

221 — Agnes  Sorel.    Engraving  by  Metzmacher,  1868. 
222 — Agnes  Sorel.    Engraving1  by  Cazenave. 

223 — Agnes  Sorel.     Engraving  by  Lovichon  after  the  drawing  by 
Chasselat. 

224 — Agnes  Sorel.    Engraving  by  Bein. 

225 — Agnes  Sorel.     Engraving  by  A.  Schultheiss  after  the  drawing 
by  Fr.  Pecht. 

226 — Joan  of  Arc  Leading  a  Charge.    By  De  Monvel. 
227 — Joan  Imploring  Divine  Aid.    By  De  Monvel. 
228 — Joan  Guided  by  Inspiration.    By  De  Monvel. 
229 — Joan,  the  Shepherdess  of  Domremy.    By  De  Monvel. 
230 — Joan's  Inspiration  at  Her  Home.    By  De  Monvel. 
231 — Joan  Ponders  on  Her  Course.    By  De  Monvel. 
232 — Joan  Seeks  Assistance  in  Her  Cause.    By  De  Monvel. 
233 — Joan  Leaving  Vaucouleurs  for  Chinon.    By  De  Monvel. 
234 — Joan  on  the  Journey  to  Chinon.    By  De  Monvel. 
235 — Joan  Points  Out  Charles  VII.    By  De  Monvel. 
236 — Joan  Questioned  by  the  Court  Sages.    By  De  Monvel. 
237 — Joan's  Army  Proceeds  to  Orleans.    By  De  Monvel. 
238 — Joan's  Army  Crossing  the  Loire  at  Checy.    By  De  Monvel. 
239 — Joan  Entering  Orleans  at  Night.    By  De  Monvel. 
240 — Joan  Wished  to  Pray  Before  Attacking.    By  De  Monvel. 
241 — Joan's  Army  Awaits  Assistance.    By  De  Monvel. 
242 — Joan's  Army  Repeatedly  Repulsed.     By  De  Monvel. 
243 — Joan  Rallied  Her  Men  in  the  Crisis.    By  De  Monvel. 

61 


244 — Joan  Weeps  on  Beholding  the  Slain.    By  De  Monvel. 
245 — Joan  Argues  Before  the  Council.    By  De  Monvel. 
246 — Joan  Takes  the  Bastion  of  Augustinians.    By  De  Monvel. 
247 — Joan  Refuses  to  Fight  on  Sunday.    By  De  Monvel. 
248 — Joan  Describes  the  Victory  to  Charles  VII.    By  De  Monvel. 
249 — Joan  Occupies  Jargeau,  June  n,  1429.    By  De  Monville. 
250 — Joan  Fights  the  English  at  Patay.    By  De  Monvel. 
251 — Joan  Conquers  the  English,  June  18,  1429.    By  De  Monvel. 
252 — Joan  Prays  with  the  Dying  Soldiers.    By  De  Monvel. 
253 — Joan  Forces  Them  to  Give  Back  Prisoners.    By  De  Monvel. 
254 — Joan  Attends  Coronation  of  Charles  VII.    By  De  Monvel. 
255 — Joan  Kneels  Before  the  King.    By  De  Monvel. 
256— Joan  Cordially  Welcomed  by  Populace.    By  De  Monvel. 
257 — Joan  Wounded  by  a  Crossbow  Dart.    By  De  Monvel. 
258 — Joan  Leaves  Her  Armor  on  the  Altar.    By  De  Monvel. 
259 — Joan  is  Discouraged  by  Inactivity.    By  De  Monvel. 
260 — Joan  Goes  to  Defense  of  Compiegne.    By  De  Monvel. 
261 — Joan  is  Captured  at  Compiegne.    By  De  Monvel. 
262 — Joan  Brought  Before  Duke  of  Burgundy.    By  De  Monvel. 
263 — Joan  Escapes;  but  Falls  from  the  Wall.    By  De  Monvel. 
264 — Joan  is  Maltreated  in  the  Rouen  Dungeon.    By  De  Monvel. 
265 — Joan  Prays  for  Deliverance  in  Captivity.    By  De  Monvel. 
266 — Joan  Attacked  by  Earl  of  Stafford.    By  De  Monvel. 
267 — Joan  is  Regarded  as  a  Heretic.    By  De  Monvel. 
268 — Joan  Tried  by  the  English  Bishops.    By  De  Monvel. 
269 — Joan  Answers  Her  Accusers.    By  De  Monvel. 

62 


270 — Joan  is  Led  Away  to  be  Put  to  Death.    By  De  Monvel. 

271 — Joan  Burned  to  Death  at  the  Stake.    By  De  Monvel. 

272 — The  Call  of  Joan  of  Arc.    By  A.  Chevallier  Tayler,  1908. 

273 — Burning  of  Joan  of  Arc.    By  A.  Chevallier  Tayler,  1908. 

274 — Vigil  of  Joan  of  Arc.     By  A.  Chevallier  Tayler,  1908. 

275 — The  Maid  Leading  Her  Troops.  By  A.  Chevallier  Tayler,  1908. 

276— Joan  of  Arc  in  Prison.    By  A.  Chevallier  Tayler,  1908. 

277 — Trial  of  Joan  of  Arc.    By  A.  Chevallier  Tayler,  1908. 

2)8 — Joan  of  Arc,  the  Shepherdess.    Colored  print. 

279 — Joan  Going  to  Meet  the  King  at  Chinon.    Colored  print. 

280 — Joan  of  Arc  at  the  Court  of  Charles  VII.    Colored  print. 

281 — Joan  of  Arc  Approaching  Orleans.    Colored  print. 

282 — Joan  of  Arc  Attacking  Orleans.    Colored  print. 

283 — Joan  of  Arc  Routing  the  English.    Colored  print. 

284 — Joan  of  Arc  Received  by  the  King.    Colored  print. 

285 — Joan  of  Arc  at  the  Coronation.    Colored  print. 

286 — Battle  of  Patay.    Colored  print. 

287 — Burning  of  Joan  of  Arc.    Colored  print. 

288 — Joan  of  Arc  Beatified.    Colored  print. 

289 — Joan  of  Arc  Statue.    Erected  at  Bonsecours,  France.    Sculptor : 
Barrias. 

290 — Joan  of  Arc  Statue.    Erected  in  the  Luxembourg,  Paris.    Sculp- 
tor: Cordonnier. 

291 — Joan  of  Arc  Statue.     Erected  in  the   Museum  at  Versailles. 
Sculptor:   Princess  Marie  of  Orleans. 

292 — Joan  of  Arc  Statue.    Erected  in  the  Louvre,  Paris.     Sculptor: 
Rude. 

63 


293 — Joan  of  Arc  Statue.     Erected  at  Orleans.     Sculptor:    Princess 
Marie  of  Orleans. 

294 — Joan  of  Arc  Statue.    Erected  in  the  Luxembourg,  Paris.   Sculp- 
tor :  Albert  Lefeuvre. 

295 — Joan  of  Arc  Statue.    Erected  in  the  Luxembourg,  Paris.    Sculp- 
tor: Fremiet. 

296 — Joan  of  Arc  Statue.    Erected  in  the  Paris  Salon,  1910.     Sculp- 
tor:  Ray  Rivoire. 

297 — Joan  of  Arc  Statue.    Erected  in  the  Luxembourg1,  Paris.    Sculp- 
tor: Chapu. 

298 — Joan  of   Arc   Statue.     Erected   in   the   Cathedral   of   Rheims. 
Sculptor:    Prosper  d'Epinay. 

299 — Joan  of  Arc  Statue.    Sculptor :  De  Marcilly. 

300 — Joan  of  Arc  Statue.    Erected  in  Paris.    Sculptor :  Bourgouin. 

301 — Joan  of  Arc  Statue.     Erected  in  Church  of  St.  Augustin  and 
Notre  Dame  de  la  Gare,  Paris.     Sculptor :   Jules  Dechin. 

302 — Joan  of  Arc  Statue.    Erected  before  St.  Denis  Church,  Paris. 

303 — Joan  of  Arc  Statue.    Erected  in  Church  of  the  Madeleine.  Paris. 
Sculptor:  Raoul  Larche. 

304 — Joan  of  Arc  Statue.  Sculptor:  R.  De  Meurville. 

305 — Joan  of  Arc  Statue.  Sculptor :   Raoul  Larche. 

306 — Joan  of  Arc  Statue.  Sculptor :  Charles  Desvergnes. 

307 — Joan  of  Arc  Statue.  Erected  at  Compiegne,  France. 

308 — Joan  of  Arc  Statue.  Sculptor :   Charles  Desvergnes. 

309 — Joan  of  Arc  Statue.  Sculptor :  A.  Vermare. 

310 — Joan  of  Arc  Statue.  Sculptor:  Emile  Chatrousse. 

311 — Joan  of  Arc  Statue.     Banner  of  Joan  Decorating  the  Statue  of 
the  Virgin  in  Notre  Dame,  Paris. 

312 — Joan  of  Arc  Statue.    Sculptor:  Mercie. 

313 — Joan  of  Arc   Equestrian   Statue.     Erected    in   the   Pantheon, 
Paris.    Sculptor:  Paul  Dubois. 

64 


JOAN  OF  ARC'S   ENTRANCE  INTO   ORLEANS 
After  the   painting  by   Bartolini 


314 — Joan  of  Arc  Equestrian  Statue.  Shown  in  the  Salon  des 
Artistes  Frangais,  1910.  Sculptor :  Anna  V.  Hyatt. 

315 — Joan  of  Arc  Equestrian  Statue.  Erected  in  Place  des  Pyra- 
mides,  Paris.  Sculptor:  E.  Fremiet. 

316 — Joan  of  Arc  Equestrian  Statue.    Erected  in  Philadelphia,  Pa. 

317 — Joan  of  Arc  Equestrian  Statue.  Erected  in  Lafayette  Square, 
Nancy,  France.  Sculptor:  E.  Fremiet. 

318 — Joan  of  Arc  Equestrian  Statue.  Shown  in  the  Salon  of  1910, 
Paris.  Sculptor :  Anna  V.  Hyatt. 

319 — Joan  of  Arc  Equestrian  Statue.  Erected  at  Orleans.  Sculptor: 
Foyatier. 

320 — Joan  of  Arc  Equestrian  Statue.  Bas-relief  on  the  statue  in  the 
Place  du  Martroi,  Orleans,  showing  her  capture.  Sculptor: 
Vital-Dubray. 

321 — Joan  of  Arc  Equestrian  Statue.  Bas-relief  on  the  statue  in  the 
Place  du  Martroi,  Orleans,  showing  her  departure.  Sculptor: 
Vital-Dubray. 

322 — Joan  of  Arc  Equestrian  Statue.  Bas-relief  on  the  statue  in  the 
Place  du  Martroi,  Orleans,  showing  her  entering  that  city. 
Sculptor :  Vital-Dubray. 

323 — Joan  of  Arc  Equestrian  Statue.  Erected  in  the  Place  du  Mar- 
troi, Orleans.  Sculptor:  Foyatier. 

324 — Joan  of  Arc  Equestrian  Statue.  Shown  in  the  Paris  Salon  of 
1912. 

325 — Joan  of  Arc  Equestrian  Statue.  Erected  at  Paris,  in  the  Place 
des  Pyramides.  Sculptor:  E.  Fremiet. 

326 — Joan  of  Arc  Equestrian  Statue.  Erected  in  the  Place  des  Pyra- 
mides, Paris.  Sculptor:  E.  Fremiet. 

327 — Joan  of  Arc  Equestrian  Statue.  Erected  in  the  garden  of  the 
old  bishopric  at  Orleans.  Sculptor:  Level. 

328 — Joan  of  Arc  Equestrian  Statue.  Erected  in  the  Place  du  Mar- 
troi, Orleans.  Sculptor:  Foyatier. 

329 — Joan  of  Arc  Equestrian  Statue.    Erected  at  Vaucouleurs. 

65 


330 — Joan  of  Arc  Equestrian  Statue.  Erected  on  summit  of  Ballon 
d'Alsace,  in  environs  of  Semur. 

331 — Joan  of  Arc  Equestrian  Statue.  Shown  in  the  Paris  Salon, 
1910.  Sculptor:  Anna  V.  Hyatt. 

332 — Joan  of  Arc  Equestrian  Statue.  Erected  at  Chinon,  France. 
Sculptor:  J.  Roulleau. 

333 — Joan  of  Arc  Equestrian  Statue.    Erected  in  the  Cluny  Museum. 

334 — Joan  of  Arc  Equestrian  Statue.  Erected  in  the  Pantheon,  Paris. 
Sculptor:  Paul  Dubois. 

335 — Joan  of  Arc  Equestrian  Statue.  Shown  at  the  Paris  Salon, 
1889.  Sculptor:  E.  Fremiet. 

336 — Joan  of  Arc  Equestrian  Statue.  Erected  in  the  Place  des  Pyra- 
mides,  Paris.  Sculptor:  E.  Fremiet. 

337 — Joan  of  Arc  Equestrian  Statue.  Erected  in  the  Place  des  Pyra- 
mides,  Paris.  Sculptor:  E.  Fremiet. 

338 — Joan  of  Arc  Equestrian  Statue.  Erected  in  the  Pantheon,  Paris. 
Sculptor:  Paul  Dubois. 

339 — Joan^of  Arc  Equestrian  Statue.  Erected  in  the  Pantheon,  Paris. 
Sculptor :  Paul  Dubois. 

340 — Two  Angels  Bearing  a  Shield.  Hanotaux  print.  From  "La 
Mer  des  Hystoires";  studio  of  Pierre  Le  Rouge,  1487. 

341— "La  Pucelle  a  Cheval."  Hanotaux  print.  The  Maid  of  Orleans 
on  horseback ;  from  "La  Hysteria  de  la  Ponzella  de  Francia," 
a  Spanish  pamphlet  dated  1562;  Burgbs,  P.  de  Junta.  In  this 
engraving  Jeanne  is  seen  using  a  curved  weapon ;  such  curved 
swords  were  in  use  from  the  time  of  the  Crusades  and  were 
called  "Turkish  weapons."  Dunois  is  also  represented  with  a 
sword  of  this  kind  in  the  "Recueil  de  Thevet." 

342 — Interior  of  Cottage  "The  House  of  Rest."  Hanotaux  print. 
From  "Le  Chasteau  de  Labour,"  by  Pierre  Gringore,  published 
in  1499,  by  Philippe  Pigouchet. 

343 — A  Bavarian  Princess.  Hanotaux  print.  From  "Die  Cronycke 
van  Hollandt,  Zeelandt.  Bourgongen."  These  wood  cuts  are 
partly  taken  from  the  Nuremberg  Chronicle  and  from  other 
earlier  ones. 

66 


344 — Legend  of  St.  Catherine.  Hanotaux  print.  From  "La  Legende 
doree,"  printed  in  French  by  Ant.  Verard,  in  1496. 

345 — The  Arrival  of  the  Messenger.  Hanotaux  print.  From  "La 
Belle  de  Vienna" ;  Anvers ;  G.  Leu ;  1487. 

346 — Interview  in  the  Court  of  a  Chateau.  Hanotaux  print.  From 
"Chronique  de  Hollande." 

347 — La  Pucelle  Kneeling  Before  Charles  VII.  Hanotaux  print. 
From  "Vigilles  de  Charles  VII. ;  edit.  Le  Caron,  Paris ;  no 
date;  XV  Century. 

348 — How  Siege  Was  Laid  to  Orleans  by  the  English.  Hanotaux 
print.  From  "Vigilles  de  Charles  VII";  Johan  du  Pre,  1493. 

349 — Battle   on   a   Plain — Knights,   Pikemen   and   Harquebusiers. 

Hanotaux  print.     From  "Chronique  de  Hollande." 

350 — Combatant  Wounded  in  the  Breast.  Hanotaux  print.  From 
"Bertrand  du  Guesclin";  Lyon;  G.  Le  Roy. 

351 — Bertrand  du  Guesclin.  Hanotaux  print.  His  portrait  from 
"Bertrand  du  Guesclin." 

352 — Outworks  of  the  City  of  Orleans.  Hanotaux  print.  Drawn 
from  an  ancient  plan. 

353 — Combat  of  Cavalry.  Hanotaux  print.  From  "Histoire  de  la 
Destruction  de  Troye  la  Grande" ;  printed  for  Jacques  Milet ; 
1484. 

354 — How  the  Christian  King  Charles  VII.  Went  to  be  Crowned 
at  Rheims  in  Spite  of  All  Impediments.  Hanotaux  print. 
From  the  "Grandes  Chroniques  de  France";  Paris;  Regnault. 

355 — Coronation  of  the  King  of  France  at  Rheims.  Hanotaux  print. 
From  "Chroniques  de  France,"  printed  for  Ant.  Verard  in 
1493- 

356 — The  Great  Pardon  of  Our  Lady  of  Rheims.  Hanotaux  print. 
From  a  broadside  printed  in  1482,  for  Jehan  du  Pre. 

357 — Siege  of  the  City.  Hanotaux  print.  From  "Chronique  de  Hol- 
lande." 

358 — Cavalcade.  Hanotaux  print.  From  "Vigilles  de  Charles  VII." ; 
ed.  Le  Caron. 

67 


359 — Arms  of  France  Borne  by  Two  Angels.  Hanotaux  print. 
From  "Grandes  Chroniques,"  last  page. 

360— Lancelot  and  La  Hire.  Hanotaux  print.  Drawn  by  R.  Favier 
from  design  on  very  old  playing-cards. 

361 — La  Pucelle.  Hanotaux  print.  From  design  on  one  of  a  pack  of 
playing-cards  of  XVth  Century,  belonging  to  the  Musee 
d'Issoudun. 

362 — Jeanne  d'Arc  Spinning  at  Her  Father's  Side.  Hanotaux  print. 
From  "Vigilles  de  Charles  VII." ;  Paris ;  Jehan  du  Pre ;  1493. 

363 — Hermit.    Hanotaux  print.    From  "Chronique  de  Hollande." 

364 — The  Blessed  Virgin.  Hanotaux  print.  From  "Histoire  du 
Chevalier  Oben;  printed  for  Guilleume  Le  Roy,  at  Lyons,  in 
1480. 

365 — Pilgrimage.  Hanotaux  print.  From  "Les  Heures  a  1'usage 
d'Amiens";  printed  for  Ph.  Pigouchet;  end  of  XVth  Century. 

366 — Annunciation.  Hanotaux  print.  From  "Miroir  de  Redemp- 
tion"; Bale;  Richel ;  1478. 

367 — Our  Lady  of  Pity.  Hanotaux  print.  From  drawing  by  R. 
Favier  of  original  in  Musee  du  Puy. 

368 — Blessed  Virgin  of  the  Minor  Friars.  Hanotaux  print.  From 
"Dialogo  de  la  Salute";  Ancona;  1527. 

369 — Prayer  to  the  Virgin  in  an  Orchard.  Hanotaux  print.  From 
Heures  a  1'usage  de  Romme";  by  Jehan  du  Pre;  1488. 

370 — God  in  His  Majesty.  Hanotaux  print.  From  the  "Missel  de 
Paris";  Simon  Vostre;  1497. 

371 — Venice.  Hanotaux  print.  From  "Bergomensis  Jacobus  Philip- 
pus  Supplementum  chronicorum." 

372 — St.  Bernardino  of  Siena  Preaching.  Hanotaux  print.  From 
"Fra  Roberto  Caracciolo  Prediche";  1517. 

373 — The  Minor  Friar.  Hanotaux  print.  From  "Speculum  fratrum 
minorum,"  in  "Officina  magistri  Karoli,  1524. 

374 — The  King  Upon  His  Throne.  Hanotaux  print.  From  "O 
gidius  Romanus  [Columna]  Regimiento  de  principes";  trans- 
lated by  Don  Bernardo,  Bishop  of  Osma ;  Seville,  1494. 

68 


JOAN  OF  ARC 
My   E.    Fremiet,   shown   at   Paris   Salon,    1889 


375 — Courier  Delivering  Letter.  Hanotaux  print.  From  "Chro- 
nique  de  Hollande"  (at  the  end). 

376 — King  of  France  Holding  Court.  Hanotaux  print.  From 
"Grandes  Chroniques" ;  ed.  Regnault. 

377 — King  of  France  at  a  "Bed  of  Justice,"  Surrounded  by  His 
Councillors.  Hanotaux  print.  From  "La  Somme  rurale  de 
Boutheillier ;  Jehan  du  Pre;  1486. 

378 — La  Pucelle  with  Hood  and  Long  Dress.  Hanotaux  print. 
After  "Vigilles  de  Charles  VII" ;  ed.  Le  Caron. 

379 — A  Quiet  Place  for  Knights  to  Meet.  Hanotaux  print.  From 
"Rappresentazione  di  San  Eustacio";  Florence,  1571. 

380 — A  Woman  Riding  on  Horseback  Accompanied  by  Squires. 

Hanotaux  print.    From  "Von  einer  Konigstochter  von  Frank- 
rich,"  Strasbourg,  Gruninger;  1500. 

381 — Joan  of  Arc  on  Horseback.  Hanotaux  print.  From  the  "Mer 
des  Hystoires" ;  edit,  by  Claude  Davost ;  Lyon. 

382 — Read  Your  Book.  Hanotaux  print.  From  "Chronique  de  Hol- 
lande," at  the  end. 

383 — Martyrdom  of  St.  Margaret.  Hanotaux  print.  From  Kris- 
teller's  "Early  Florentine  Woodcuts";  London;  1897. 

384 — Prophecy  of  the  Venerable  Bede,  the  Sybil.  Hanotaux  print. 
From  "Profetie  di  varii  profeti  et  Sibille,"  Florence;  begin- 
ning of  the  XVIth  Century ;  Essling1. 

385 — How  La  Pucelle  Approached  the  King.  Hanotaux  print. 
From  "Vigilles  des  Charles  VII" ;  edit.  Jehan  du  Pre. 

386 — Crown,  Globe  and  Sceptre.  Hanotaux  print.  From  "Chronique 
de  Hollande." 

387 — The  King  in  Prayer.  Hanotaux  print.  From  "Le  Livre  des 
Bonnes  Moeurs";  compiled  by  Brother  Jacques  de  Grant; 
studio  of  Caillaut ;  1487. 

388 — Siege  of  a  City,  Use  of  Artillery.  Hanotaux  print.  From 
Lirers  Chronik. 

389 — Charlemagne,  St.  Louis  and  St.  Remi.  Hanotaux  print.  From 
"Grandes  Chroniques  de  France." 

69 


3QO — St.  Margaret.  Hanotaux  print.  From  "Legende  des  Saints"; 
J.  de  Voragine ;  Lyon ;  M.  Buss. 

391 — A  Pope.  Hanotaux  print.  From  "Sermones  Sancti  Augustini" ; 
edit.  Gering  &  Renbolt ;  in  the  "Soleil  d'Or ;  1498." 

392 — St.  Anthony  of  Florence.  Hanotaux  print.  From  "Tratatto 
vulgare  di  Frate  Antono  Arcivescoco" ;  Florence ;  1496. 

393 — The  Church  Militant  and  the  Church  Triumphant.  Hanotaux 
print.  From  "Chronique  de  Hollande." 

394 — Consecration  of  the  King  at  Rheims.  Hanotaux  print.  From 
"Chroniques  de  France" ;  printed  for  Ant.  Verard ;  1492. 

395 — The  Lords  of  the  Earth  Slaughter  One  Another.     Hanotaux 
print.    From  "Chronique  de  Hollande." 

396— Taking  of  Constantinople.      Hanotaux  print.    From  "Chronique 
de  Hollande." 

397 — Death  of  King  Charles  VI.  Hanotaux  print.  From  "Vigilles 
de  Charles  VII." ;  J.  Du  Pre. 

398 — Death  on  Horseback  Drives  Priests  and  Nobles  to  Annihila- 
tion. Hanotaux  print. 

399 — The  Feudal  Castle.  Hanotaux  print.  From  "Chronique  de 
Hollande." 

400 — St.  Michael.  Hanotaux  print.  From  "Legende  des  Saints";  J. 
de  Voragine ;  Lyon ;  M.  Huss. 

401 — Siege  of  Paris  by  King  of  France.  Hanotaux  print.  From 
"Grandes  Chroniques." 

402 — Celestial  Phenomena.  Hanotaux  print.  From  "Chronique  de 
Hollande." 

403 — Celestial  Vengeance.  Hanotaux  print.  From  "Chronique  de 
Hollande." 

404 — Charles  VII.  Hanotaux  print.  By  Jean  Fouquet;  sketched  by 
R.  Favier. 

405 — Charles  VII.  Lying  Between  "Intelligence"  and  "Melancholy." 
Hanotaux  print.  From  "Diets  et  Ballades  de  M.  Alain  Char- 
tier";  about  1489. 

70 


406— Philip  of  Burgundy.     Hanotaux  print.     From  the  bust  in  the 
gallery  of  the  Prince  of  Wurtemberg. 

407 — Philip  the  Good,  Duke  of  Burgundy.    Hanotaux  print.     From 
"Chronique  de  Hollande." 

408 — Courtiers  Conversing.     Hanotaux  print.     From  "Chronique  de 
Hollande." 

409 — Richemont's  Portrait.    Hanotaux  print.  After  Gaignieres ;  1458. 

410 — Jean  VI.,  Duke  of  Brittany.    Hanotaux  print.    After  a  water- 
color  of  the  Cabinet  des  Estampes ;  sketched  by  R.  Favier. 

411 — A   Councillor  of  the   Duke  of   Burgundy.     Hanotaux   print. 
From  "Chronique  de  Hollande." 

412 — Duke  of  Burgundy  Surrounded  by  His  Councillors.    Hanotaux 
print.    From  "Die  Burgundische  Historic" ;  Strasbourg ;  1477. 

413 — Blazon  of   France  and   Burgundy.     Hanotaux  print.     From 
"Chronique  de  Hollande." 

414 — Jean  person.     Hanotaux  print.     After  the  engraving  of  the 
Cabinet  des  Estampes ;  sketched  by  R.  Favier. 

415 — Battle.    Hanotaux  print.     From  Bertrand  du  Guesclin. 

416— The  Messenger.    Hanotaux  print.       From  "Chronique  de  Hol- 
lande." 

417 — A  Burgundian  Prince.     Hanotaux  print.     By  Lucas  de  Leyde, 
From  "Chronique  de  Hollande." 

418 — Coat  of  Arms  of  Burgundy.    Hanotaux  print.  From  "Chronique 
de  Hollande." 

419 — Tournament  at  the  Court  of  Burgundy.  Hanotaux  print.  From 
"Chronique  de  Hollande." 

420 — Festivals  at  the  Court  of  Burgundy.     Hanotaux  print.     From 
"Chronique  de  Hollande." 

421 — Council  in  the  Royal  Camp.    Hanotaux  print.    From  "Vigilles 
de  Charles  VII." ;  ed.  Le  Caron. 

422 — Regnault  de  Chartres.    Hanotaux  print.    After  a  portrait  in  the 
Cabinet  des  Estampes ;  sketched  by  R.  Favier. 

71 


423 — Arms  of  France  Supported  by  Two  Angels.  Hanotaux  print. 
From  "Grandes  Chroniques  de  France." 

424 — Court  Banquet.  Hanotaux  print.  From  "La  Belle  Mague- 
lonne" ;  printed  for  Guillaume  Le  Roy ;  Lyon ;  before  1480. 

425 — Knights  on  the  March.  Hanotaux  print.  From  "Chronique  de 
Hollande." 

426— Plan  of  Compiegne.  Hanotaux  print.  From  a  document  pre- 
served in  the  Depot  des  cartes  et  plans  of  the  Bibliotheque  Na- 
tionale. 

427 — Battle  before  a  Stronghold.  Hanotaux  print.  From  "Chronique 
de  Hollande." 

428 — Blessed  Virgin.  Hanotaux  print.  From  "Chronique  de  Hol- 
lande." 

429 — How  the  English  Brought  La  Pucelle  to  Rouen  and  Did  Her 
to  Death.  Hanotaux  print.  From  "Vigilles  de  Charles  VII." ; 
printed  in  Paris  for  Jehan  du  Pre,  1492. 

430 — Bishop  and  Pope.  Hanotaux  print.  From  "Sermons  de  S. 
Augustin" ;  printed  for  Gering  &  Renbolt,  1498. 

431 — Pope  and  Cardinals.  Hanotaux  print.  From  "Gregorii  Home- 
lia";  Venice,  1504. 

432 — Tower  of  the  Vieux  Chateau  in  which  La  Pucelle  was  Im- 
prisoned. Hanotaux  print.  From  "Livre  des  Fontaines," 
1525;  after  Sarrazin. 

433 — Combat  of  Cavalry  Against  Infantry.  Hanotaux  print.  From 
"Lirers  Chronik." 

434 — Taking  of  Rouen  by  the  English.  Hanotaux  print.  From 
"Vigilles  de  Charles  VII." ;  ed.  Jehan  du  Pre. 

435 — Duke  of  Bedford.  Hanotaux  print.  Sketched  by  R.  Favier  from 
a  print  in  the  Cabinet  des  Estampes ;  Bibliotheque  Nationale. 

436 — Deliberation  of  the  English  Council.  Hanotaux  print.  From 
"Bertrand  du  Guesclin." 

437 — Rouen,  a  City  of  Murder  and  Treason.  Hanotaux  print.  From 
"Chronique  de  Hollande." 

438 — The  Leopards  of  England.  Hanotaux  print.  From  "Lirers 
Chronik." 

72 


JOAN  OF  ARC 
By  Chapu,  in  the  Luxembourg,  Paris 


439 — Shield  of  France,  the  Arms  of  the  City  and  University  of 
Paris.  Hanotaux  print.  Mark  of  Jean  Bocard,  bookseller  of 
Paris. 

440 — A  Doctor.    Hanotaux  print.    From  "Sermons  de  S.  Augustin." 

441 — Bishop  Pierre  Cauchon's  Coat-of-Arms.  Hanotaux  print. 
After  Sarrazin. 

442 — Bishop  Pierre  Cauchon's  Tombstone.  Hanotaux  print.  From 
Bibliotheque  Nationale,  Cabinet  des  Estampes;  Gaignieres. 

443 — A  Bishop.  Hanotaux  print.  By  Lucas  of  Leyden,  from 
"Chronique  de  Hollande." 

444 — An  Abbe.    Hanotaux  print.    From  "Chronique  de  Hollande." 

445 — The  Professor  Teaching.  Hanotaux  print.  From  "Mer  des 
Hystoires." 

446 — A  Judge.  Hanotaux  print.  From  "Sermons  de  S.  Augustin"; 
1498. 

447 — Tombstone  of  Thomas  de  Courcelles  and  of   His  Brother. 

Hanotaux    print.     After    Gaignieres.     Bib.    Nat.,    Cab.    des 
Estampes. 

448 — Jeanne  d'Arc.  Hanotaux  print.  Sketched  by  the  clerk  at  the 
trial;  from  Vallet  de  Viriville's  "Recherches  iconographiques 
sur  Jeanne  d'Arc,  dite  la  Pucelle  d'Orleans,"  1855. 

449 — A  Sybil.  Hanotaux  print.  From  "Heures  a  1'usage  de  Rom- 
me" ;  by  Ph.  Pigouchet. 

450 — Celestial  Court.  Hanotaux  print.  From  "Missale  Verdunense" ; 
printed  for  Jehan  du  Pre;  1481. 

451 — The  Church  Militant.  Hanotaux  print.  From  "Chronique  de 
Hollande." 

452 — Sitting  in  Judgment.  Hanotaux  print.  From  "Chroniques  de 
France" ;  printed  for  Ant.  Verard ;  1492. 

453 — Preacher  in  the  Pulpit.  Hanotaux  print.  From  "Passio  domini 
nostri  Jesu  Christi";  Strasbourg;  beginning  of  XVI.  Century. 

454 — Fragment  of  a  Plan  of  Rouen.  Hanotaux  print.  From  Bibl. 
Nat.,  Depot  des  cartes  et  plans. 

73 


455 — Massacre  of  Peasants.  Hanotaux  print.  From  "Histoire  de 
Sigismonde  fille  du  Prince  Tancrede" ;  Strasbourg. 

456— The  Man-at-Arms.  Hanotaux  print.  From  "Chronique  de  Hol- 
lande." 

457 — De  Berneval,  Architect  of  the  Rose-window  of  St.  Ouen  in. 
Rouen.  Hanotaux  print.  From  a  drawing  preserved  in  the 
Bibliotheque  Nationale,  Cabinet  des  Estampes. 

458 — Battle  between  the  Fleur-de-lis  and  the  Leopards.  Hanotaux 
print.  From  "Ancienne  Chronique  de  Brabant;  Anvers,  R. 
Van  den  Dorp ;  1497. 

459 — A  Knight.    Hanotaux  print.    From  "Chronique  de  Hollande." 

460 — St.  Thomas  Aquinas,  and  the  Teaching  of  the  Church.  Hano- 
taux print.  From  "Commentaires  sur  Aristote" ;  Venice,  1496. 

461 — Jean  Gerson.  Hanotaux  print.  From  "De  Imitatione  Christi"; 
1502. 

462 — The  Pope  with  the  Cardinals  and  Bishops.  Hanotaux  print. 
Communication  of  M.  Leclere. 

463 — Rome.  Hanotaux  print.  From  "Bergomensis  Jacobus  Philipus 
Supplementum  chronicarum" ;  1492. 

464 — The  Preaching.     Hanotaux  print.    After  "Caracciolo,"  1495. 

465 — The  Seed  and  the  Balance.  Hanotaux  print.  From  "Heures  a 
1'usage  de  Romme";  1498. 

466 — Holy  Conversation.  Hanotaux  print.  From  "L'Explication  de 
Pater  noster;"  studio  of  Pierre  Levet;  1489. 

467 — Jean  d'Arc  Salutes  the  King  at  Chinon.  Hanotaux  print. 
From  "Vigilles  de  Charles  VII." ;  ed.  J.  Du  Pre. 

468 — How  King  Henry  was  Crowned  in  Paris  with  two  Crowns 
by  the  English.  Hanotaux  print.  From  "Vigilles  de  Charles 
VII." ;  ed.  J.  du  Pre. 

469 — The  King  Making  His  Re-entry  Into  Paris.  Hanotaux  print. 
From  "Grandes  Chroniques  de  France";  printed  for  Ant. 
Verard;  1492. 

470 — Rainbow  Over  a  Troubled  Sea.  Hanotaux  print.  From 
"Chronique  de  Hollande." 

74 


471 — Siege  Laid  to  Ponthoise  by  the  French.  Hanotaux  print. 
From  "Vigilles  de  Charles  VII." ;  ed.  J.  du  Pre. 

472 — Margaret  of  Anjou.  Hanotaux  print.  From  a  stained-glass 
window;  Cab.  des  Estampes;  Gaignieres.  Sketched  by  R. 
Favier. 

473 — A  Doctor.    Hanotaux  print.     From  "Sermons  de  S.  Augustin." 

474 — Portrait  of  Guillaume  d'Estouteville.  Hanotaux  print.  From 
a  picture  in  the  archiepiscopal  residence  at  Rouen ;  sketched  by 
R.  Favier. 

475 — Tombstone    of    Guillaume    Chartier,    Archbishop    of    Paris. 

Hanotaux  print.     From  Collection  Gaignieres,  Bibl.  Nat.  Cab. 
des  Estampes. 

476 — Suppliant  Woman.  Hanotaux  print.  From_"Heures  a  1'usage 
de  Romme";  printed  for  Jehan  du  Pre;  ~ 


477 — Jeanne  d'Arc.  Hanotaux  print.  From  the  miniature  of  the 
"Proces  de  Rehabilitation" ;  Bib.  Nat. ;  sketched  by  R.  Favier. 

478 — Prayer  to  the  Virgin.  Hanotaux  print.  From  Kristeller's 
"Early  Florentine  Woodcuts";  London;  1897. 

479 — Jean  Jouvenel  des  Ursins.  Hanotaux  print.  After  a  picture 
in  the  Louvre,  Paris. 

480 — Pontifical  Arms.  Hanotaux  print.  From  the  "Grand  Pardon 
de  Notre  Dame  de  Reims";  broadside  printed  in  1482  for 
Jehan  du  Pre. 

481 — Jeanne  d'Arc   and   Charles   VII.   Kneeling   Before   a   Pieta. 

Hanotaux  print.  Sketched  ,by  R.  Favier  after  an  engraving1 
of  Leonard  Gaultier,  representing  the  monument  erected  be- 
fore the  XVI  Century  on  the  bridge  of  Orleans,  in  Hordal 
"Heroinae  Jeanne  d'Arc  Historia,"  1612. 

482 — Jehanne  la  Pucelle.  Hanotaux  print.  From  a  miniature  of  the 
"Champion  des  Dames" ;  about  1450. 

483 — Jeanne  d'Arc  with  a  Crown.  Hanotaux  print.  Published  in 
Grassailles  "Regalium  Franciae  libri  duo";  Lyon;  1538. 

484 — Jeanne  d'Arc.  Hanotaux  print.  Portrait  of  Hotel  de  Ville  of 
Rouen,  probably  executed  toward  the  end  of  the  XVI  Cen- 
tury; prototype  of  the  "Pucelle  au  chaperon." 

485 — Joan  of  Arc  in  Armor.    By  F.  V.  Du  Mond. 

75 


486  —  Joan  of  Arc's  Vision.    By  F.  V.  Du  Mond. 

487  —  Joan  of  Arc  in  the  Forest.    By  F.  V.  Du  Mond. 

488  —  Joan  of  Arc  Before  the  Governor  at  Vaucouleurs.    By  F.  V. 

Du  Mond. 

489  —  The  Governor  of  Vaucouleurs  Keeps  His  Promise  to  Joan  of 

Arc.    By  F.  V.  Du  Mond. 

490  —  The  Paladin's  Appearance  in  Court.    By  F.  V.  Du  Mond. 

491  —  Joan  of  Arc   Reprimands   the   Conspirators.     By   F.   V.   Du 

Mond. 

492  —  Joan  of  Arc  Discovers  the  Disguised  King.     By  F.  V.  Du 

Mond. 

493  —  Examination  of  Joan  of  Arc  by  the  Council.     By  F.  V.  Du 

Mond. 


494  —  Joan  of  Arc  Chooses  Her  Standard-Bearer.  By  F.  V.  Du  Mond. 

495  —  Joan  of  Arc  and  La  Hire.    By  F.  V.  Du  Mond. 

496  —  Joan  of  Arc  and  the  Dwarf.    By  F.  V.  Du  Mond. 

497  —  Joan  of  Arc's  Entry  into  Orleans.    By  F.  V.  Du  Mond. 

498  —  Joan  of  Arc  Surprises  the  Conspirators.    By  F.  V.  Du  Mond. 

499  —  Capture  of  the  Tourelles.    By  F.  V.  Du  Mond. 

500  —  Joan  of  Arc  Dictating  Letters.    By  F.  V.  Du  Mcmd. 

501  —  Siege  of  Orleans.    From  the  painting  by  J.  E.  Lenepveu. 

502  —  The  Duchess  Kisses  Joan  of  Arc.    By  F.  V.  Du  Mond. 

503  —  The  Evening  Meal.    By  F.  V.  Du  Mond. 

504  —  Joan  of  Arc  and  Wounded  Soldier.    By  F.  V.  Du  Mond. 

505  —  Coronation  at  Rheims.    By  F.  V.  Du  Mond. 

506  —  Joan  of  Arc  Drills  Her  Father.    By  F.  V.  Du  Mond. 

507  —  The  Paladin  Tells  How  He  Won  Patay.    By  F.  V.  Du  Mond. 

508  —  Capture  of  Joan  of  Arc  at  Compiegne.    By  F.  V.  Du  Mond. 

76 


JOAN  OF  ARC 
Statue  by  Paul  Dubois  erected  in  Paris 


509 — Joan  of  Arc.    From  portrait  in  Hotel  de  Ville  at  Rouen. 

510 — Rainguesson  and  De  Conte  Making  their  Way  to  Rouen.    By 

F.  V.  Du  Mond. 

511 — Trial  of  Joan  of  Arc.    By  F.  V.  Du  Mond. 

512 — Joan  of  Arc's  Execution.    By  F.  V.  Du  Mond. 

513 — Joan  of  Arc  Signs  the  Accusation.    By  F.  V.  Du  Mond. 

514 — Cauchon  Accuses  Joan  of  Arc  of  Violating  Her  Oath.    By  F. 

V.  Du  Mond. 

515 — Jacques  d'Arc  and  Uncle  Laxart  Watching  the  Procession. 
By  F.  V.  Du  Mond. 

516 — Embellishment  Showing  the  Doorway  of  Joan  of  Arc's  Home. 
By  F.  V.  Du  Mond. 

517 — Joan  of  Arc,  Maid  of  France.    By  Agnes  A.  Hilton. 

518 — Joan  of  Arc  Praying.     By  Agnes  A.  Hilton. 

519 — Joan  of  Arc  Bearing  Her  Standard.    By  Agnes  A.  Hilton. 

520 — Joan  of  Arc  Entering  Orleans.    By  Agnes  A.  Hilton. 

521 — Joan  of  Arc  Succors  a  Soldier.    By  Agnes  A.  Hilton. 

522 — Coronation  at  Rheims.    By  Agnes  A.  Hilton. 

523 — Joan  of  Arc  Fondling  Children.     By  Agnes  A.  Hilton. 

524 — Joan  of  Arc  Burned  at  the  Stake.     By  Agnes  A.  Hilton. 

525 — Joan  of  Arc  Rallying  Her  Men.    By  Agnes  A.  Hilton. 

526 — Joan  of  Arc  in  Prison.    By  Agnes  A.  Hilton. 

527 — Joan  of  Arc's  Trial.    By  Agnes  A.  Hilton. 

528 — Joan  of  Arc's  Capture.    By  Agnes  A.  Hilton. 

529 — Joan  of  Arc's  Vision.    By  Gaston  Bussiere. 

530 — Joan  of  Arc  at  Trial.    By  Gaston  Bussiere. 

531 — Coronation  of  Charles  VII.     By  Gaston  Bussiere. 

532 — The  Land  Afar  Off.    By  Gaston  Bussiere. 

77 


533 — For  God,  King  and  Country.    From  silver  medallion  by  Broms- 
grove  Guild  of  Artists. 

534 — She  Can  Neither  Read  Nor  Write.     From  bronze  medallicm 
by  the  Bromsgrove  Guild  of  Artists. 

535 — La  Pucelle  de  Dieu.     From  bronze  statuette  by  the  Broms- 
grove Guild  of  Artists. 

636— The   Scene  of   Her  Mission   Inspires  the  Maid.     From  the 
painting  by  Gaston  Bussiere. 

537 — Joan  of  Arc  Places  Armor  on  Altar.     From  the  painting  by 
Gaston  Bussiere. 

538 — Joan  of  Arc  on  Way  to  the  Stake.     From  the  painting  by 
Gaston  Bussiere. 

539 — Joan  of  Arc  Yields  Her  Limbs,  but  Keeps  Her  Faith.    From 
the  painting  by  Gaston  Bussiere. 

540 — Joan  of  Arc  as  a  Child.    By  J.  Jellicoe. 

541 — Joan  of  Arc  at  Play.    By  J.  Jellicoe. 

542 — Joan  of  Arc  Meets  Charles  VII.    By  J.  Jellicoe. 

543 — Joan  of  Arc  Entering  Orleans.    By  J.  Jellicoe. 

544 — Joan  of  Arc  Wounded.     By  J.  Jellicoe. 

545 — Captured  at  Compiegne.    By  J.  Jellicoe. 

546 — Joan  of  Arc  on  Castle  Roof.    By  J.  Jellicoe. 

547 — Joan  of  Arc  Faces  Her  Judges.     By  J.  Jellicoe 

548 — Joan  of  Arc  Bas-relief,  by  H.  Gauquie,   in  the  Cathedral  at 
Rouen,  showing  her  burned  at  the  stake. 

549 — Bas-relief,  by  H.  Gauquie,  in  the  Cathedral  at  Rouen,  showing 
her  entrance  into  Orleans. 

550 — Reredos  in  the  Chapel  Joan  of  Arc  in  the  Cathedral  at  Rouen. 

551 — Bas-relief,  by  H.  Gauquie  to  the  memory  of  Charles  VII.,  in  the 
Cathedral  at  Rouen. 

553 — Altar  in  the  Chapel  Joan  of  Arc,  of  the  Cathedral  at  Rouen, 
designed  by  Messrs.  Navone  of  Genoa  and  Gauquier  of  Paris. 

78 


553 — Joan  of  Arc  Statue,  by  Navone,  in  the  Cathedral  at  Rouen. 

554 — Marble  and  bronze  decoration,  by  Allar,  in  the  Basilica  of 
Domremy,  depicting  her  listening1  to  the  "voices." 

555 — Bas-relief,  by  Vital-Dubray,  of  the  statue  in  the  Place  du  Mar- 
troi,  at  Orleans,  depicting  her  burning  at  the  stake  at  Rouen, 
May  30,  1431. 

556— Joan  of  Arc  Bell,  in  Notre  Dame  Cathedral,  Paris. 

t 
557 — La  Croix  Pucelle,  erected  in  the  forest  of  St.  Germain. 

558 — Joan  of  Arc  Banner.  Given  to  the  Notre  Dame  Cathedral  at 
Paris. 

559 — Lacework,  showing  Joan  of  Arc  on  horseback. 

560 — Joan  of  Arc  Equestrian  Statue,  by  Paul  Dubois,  erected  before 
the  Cathedral  at  Rheims. 

561 — Entrance  to  the  Rheims  Cathedral,  showing  the  statue  of  Joan 
of  Arc  before  it. 

562 — Tower  of  Joan  of  Arc,  at  Rouen,  where  she  was  confined. 

563 — Tablet  at  Rouen,  indicating  where  Joan  of  Arc  was  burned  at 
the  stake. 

564 — Capture  of  Orleans,  from  the  painting  by  Lenepveu. 

565 — The  spot  where  Joan  of  Arc  died,  decorated  with  floral  tokens. 

566 — Castle  of  Philip  Augustus;  erected  in  1204. 

567 — Joan  of  Arc  in  Prison. 

568 — Monument  to  Joan  of  Arc,  before  the  Church  de  Bon-Secours 
at  Rouen. 

569 — Statue  of  Joan  of  Arc  in  the  monument  group  before  Bcm- 
Secours  Church. 

570 — The  Joan  of  Arc  Monument  before  the  Church  of  Bon-Secours, 
Rouen. 

79 


571 — Church  at  Domremy,  erected  in  honor  of  Joan  of  Arc. 

572 — Bas-relief,  designed  by  Vital-Dubray  as  part  of  the  imposing 
statue  erected  in  the  Place  du  Martroi,  at  Orleans,  depicting 
St.  Catherine  and  St.  Marguerite  announcing  to  Joan  of  Arc 
that  St.  Michael  will  govern  her  life. 

573 — Joan  of  Arc  Statue.    Engraving  by  Pigeot. 

574 — Isabella  of  Bavaria,  entering  Paris  to  become  Queen  of  France 
as  wife  of  Charles  VI. 

575 — Joan  of  Arc  Statue.  Engraving  by  George  Cooke,  and  pub- 
lished by  Vernor,  Hood  &  Sharpe;  Poultry,  1807. 

576— Joan  of  Arc  Statue,  at  Rouen.    Engraving  by  H.  Heath. 

577 — Isabella  of  Bavaria,  who  became  wife  of  King  Charles  VI.,  of 
France. 

578 — Joan  of  Arc  Statue.  Engraving  by  Gervais  from  a  drawing  by 
A.  Deveria. 

579 — Joan  of  Arc  Window,  executed  by  F.  Gaudin;  drawn  by  E. 
Grassel. 

580 — Joan  of  Arc.  Engraving  by  E.  Hargrave;  printed  in  Court 
Magazine,  1840. 

581 — Cathedral  at  Orleans. 

582 — Church  of  Notre  Dame,  at  Poitiers.  Engraved  by  W.  Wallis; 
drawn  by  T.  Allom. 

583 — Joan  of  Arc  in  Prison.     Engraving. 

584 — Joan  of  Arc.     Symbolical  picture,  1910  anniversary,  at  Rouen. 

585 — King  Henry  VI.,  of  England. 

586— Young  woman  costumed  in  armor  such  as  worn  by  Joan  of 
Arc. 

587 — Joan  of  Arc  Statue.  New  model  by  Allouard,  shown  in  his 
studio,  in  Paris. 

80 


JOAN  OF  ARC 
Statue  before  the   Church   St.   Denis,  Paris 


588 — Armor  of  about  1400,  owned  by  the  Metropolitan  Museum  of 
Art  in  the  City  of  New  York.  This  basinet  appears  to  have 
hung  above  the  main  altar  of  the  Church  of  St.  Pierre  du 
Martroi,  at  Orleans,  and  to  have  passed  as  the  casque  of  Joan 
of  Arc.  It  is  related  in  the  record  of  her  life  that  she  placed 
her  armor  on  the  altar,  when  discouraged,  and  left  it  there. 
This  specimen  is  evidently  an  ex  voto  of  French  workmanship, 
and  of  the  time  of  Joan  of  Arc;  but  there  is  no  documentary 
evidence  showing  to  whom  it  belonged.  Photograph. 

589 — Armor  of  XV  Century;  French.  Side  view  of  last.  Photo- 
graph of  an  exhibit  at  the  Metropolitan  Museum  of  Art,  New 
York  City. 

590 — Armor  of  XV  Century ;  German.  Used  in  riding  on  horseback. 
Photograph  of  an  exhibit  at  the  Metropolitan  Museum  of  Art, 
New  York  City. 

591 — Armor  of  XV  Century;  French.  With  headpiece  for  horse. 
Photograph  of  an  exhibit  at  the  Metropolitan  Museum  of  Art, 
New  York  City. 

592 — Armor  of  XV  Century;  French.  Photograph  of  an  exhibit  at 
the  Metropolitan  Museum  of  Art,  New  York  City. 

593 — Mme.  Sarah  Bernhardt  as  Joan  of  Arc  Reading  Her  Testament. 
Photograph  by  Henri  Manuel ;  Paris. 

594 — Joan  of  Arc  Wounded,  represented  by  Mme.  Sarah  Bernhardt. 
Photograph  by  Henri  Manuel ;  Paris. 

595 — Mme.  Sarah  Bernhardt,  representing  Joan  of  Arc  reading  her 
Testament.  Photograph  by  Henri  Manuel ;  Paris. 

596 — Joan  of  Arc  in  Her  Dungeon  Cell,  represented  by  Mme.  Sarah 
Bernhardt.  Photograph  by  Henri  Manuel;  Paris. 

597 — Joan  of  Arc  in  Her  Home  at  Domremy,  represented  by  Mme. 
Sarah  Bernhardt.  Photograph  by  Nadar;  Paris. 

598 — Joan  of  Arc  with  Her  Flock.  Worked  in  silk ;  after  the  picture 
by  F.  Lematte. 

599 — Joan  of  Arc  in  Prayer.    Worked  in  silk. 

81 


6oo — Joan  of  Arc  on  Horseback.  The  Paul  Dubois  statue  in  black 
and  white.  Silhouette  by  Gustavus  Walle,  New  York  City. 

60 1 — Joan  of  Arc.  Engraving  from  original  owned  by  the  Chevalier 
Lenoir. 

602 — Joan  of  Arc.  Drawing  by  Giovanni  Cariati. 

603 — Joan  of  Arc.  Design  for  medal  by  Giovanni  Cariati. 

604 — Joan  of  Arc.  Design  for  statue  by  Giovanni  Cariati. 

605 — Joan  of  Arc.  Drawing1  by  Giovanni  Cariati. 

606— Joan  of  Arc.  Drawing  by  Giovanni  Cariati. 

607 — Joan  of  Arc,  the  Liberator.  Fete  poster  issued  at  Paris  for 
public  information  by  the  Placard  and  Pamphlet  Committee; 
published  by  Moullot,  Paris. 

608 — Joan  of  Arc  Decorative  Shield.  Fete  poster  issued  at  Paris, 
May  19,  1912;  published  by  Vercasson,  Rue  Martel,  Paris. 

609 — Joan  of  Arc.     Bust  of  the  statue  by  Mercie. 
610 — Joan  of  Arc.     Full  length  statue  by  Mercie. 

611 — Joan  of  Arc  Makes  a  Sortie  from  the  Gates  of  Orleans.  En- 
graving by  C.  W.  Wass,  1851 ;  after  the  painting  by  W.  Etty, 
R.  A.  Loaned  by  R.  Fridenberg;  New  York  City. 

612 — Joan  of  Arc's  Inspiration.  Engraving  by  Sidney  L.  Smith, 
after  the  painting  in  the  Metropolitan  Museum,  New  York 
City,  by  Bastien  Lepage. 

613 — Joan  of  Arc  Leading  Her  Army  to  Orleans.  Oil  painting  by 
Boutet  de  Monvel ;  8  ft.  6  in.  long ;  4  f t.  6  in.  high.  Loaned 
by  U.  S.  Senator  William  A.  Clark,  New  York  City. 


82 


CURIOS 

614 — Stone  (about  50  Ibs.)  taken  from  the  dungeon  of  the  stronghold  at 
Rouen,  France,  in  which  Joan  of  Arc  was  held  in  chains,  starved, 
abused  and  tortured.  Secured  by  M.  Jean  de  Beaurepaire  of 
Rouen  who  possesses  a  large  collection  of  Joan  of  Arc  material, 
and  sent  by  him  to  Dr.  George  F.  Kunz,  of  New  York,  President 
of  the  Joan  of  Arc  Memorial  Fund  Committee. 

615 — Mug,  painted  by  Raymond  Perry,  a  feature  of  the  Salmagundi 
Club's  annual  banquet,  held  in  December,  1912.  Loaned  by 
J.  Sanford  Saltus,  Esq. 

616 — Joan  of  Arc  Dinner-plate.  Loaned  by  Mrs.  Cuyler  Reynolds, 
Albany,  N.  Y. 

617 — Joan  of  Arc  Dinner-plate.  Loaned  by  Mrs.  Cuyler  Reynolds, 
Albany,  N.  Y. 

618 — Joan  of  Arc  Dinner-plate.  Loaned  by  Mrs.  Cuyler  Reynolds, 
Albany,  N.  Y. 

619 — Shield,  of  the  design  used  by  Joan  of  Arc. 

620 — Signature  of  Joan  of  Arc,  magnified  and  photographed.  Not 
more  than  three  signatures  are  known  to  exist.  Enlarged  by 
Drummond,  New  York  City. 

621 — Stamps  used  during  the  festival  at  Orleans  in  1912,  in  honor  of 
Joan  of  Arc,  showing  her  on  horseback. 

622 — Stamp  bearing  likeness  of  Joan  of  Arc 

623 — Silk  Ribbon  worn  in  the  Joan  of  Arc  fete  of  191 2  at  Orleans,  France. 

624 — Special  pamphlet:  "Blessed  Jeanne  d'Arc,  Maid  of  Orleans." 
Paper,  frontispiece,  14  pp.  Published  by  Allday,  Birmingham, 
Eng.,  1909. 

625 — Letter  of  M.  Jusserand,  Ambassador  of  France  to  the  United 
States,  expressing  an  estimate  of  the  character  of  Joan  of  Arc 
to  Dr.  George  F.  Kunz,  as  President  of  the  Joan  of  Arc  Memorial 
Fund  Committee.  Dated  French  Embassy,  Washington,  D.  C., 
Dec.  18,  1912. 

626 — Letter  of  Giovanni  Cariati,  the  well-known  Italian  sculptor  now 
in  this  country,  offering  to  loan  exhibits,  written  to  the  president 
of  the  committee,  Dec.  12,  1912. 

83 


627 — Letter  of  M.  Jean  de  Beaurepaire,  of  Rouen,  France,  to  Dr.  George 
F.  Kunz,  regarding  the  stone  taken  from  the  tower  of  the  prison 
in  which  Joan  of  Arc  was  confined  at  Rouen.  Written  July  5, 
1912. 

628 — Letter  of  M.  Jean  de  Beaurepaire,  of  Rouen,  France,  to  Dr.  George 
F.  Kunz,  regarding  present  condition  of  the  site  of  the  prison 
where  Joan  of  Arc  was  held.  Written  May  12,  1912. 

629 — Poem,  in  chirography  of  Percy  Mackaye,  entitled  "By  the  Ladies' 
Tree,"  from  his  play  "Jeanne  d'Arc,"  written  at  Corinth,  N.  H., 
1906. 

630 — Letter,  from  the  Secretary-General  of  the  "Souvenir  Franc, ais," 
(a  French  organization  founded  in  1906,  for  the  purpose  of 
studying  the  lives  of  soldiers  and  sailors  who  died  for  their 
country  and  erecting  monuments  thereto).  Written  in  appre- 
ciation of  advice  that  a  monument  was  proposed  to  Joan  of  Arc 
in  this  country.  Dated,  Paris,  Dec.  9,  1912. 

631 — Letter  of  J.  Sanford  Saltus,  Esq.,  advocating  a  National  pageant 
throughout  France  on  the  annual  birthday  of  Joan  of  Arc. 
Written  Jan.  2,  1911. 

632 — Letter  of  P.  B.  de  Crevecoeur,  Librarian  and  Secretary  of  Fraser 
Institute  (Free  Public  Library),  Montreal,  Canada,  Dec.  18, 
1912,  regarding  the  Joan  of  Arc  statue  designed  by  A.  Vermare, 
and  erected  in  Montreal,  Oct.  6,  1912,  through  efforts  of  the 
Union  Nationale  Frangaise. 

633 — Music:  "A  Jeanne  d'Arc;"  song  words  by  J.  Trebor;  music  by 
R.  P.  Ligonnet.  Published  by  E.  Coutarel,  Paris. 

634 — Music:  "Cantate  a  Jeanne  d'Arc;"  words  by  M.  1'Abbe  Degron. 
Published  by  E.  Ploix,  Paris. 

635 — Music:  "Jeanne  d'Arc;"  drama  in  five  acts  and  in  verse  by  Jules 
Barbier;  music  by  Charles  Gounod.  Published  by  Choudens 
Sons,  Paris. 

636 — Music:  "Marche  Lorraine;"  words  by  Jules  Jouy  and  Octave 
Pradels;  music  by  Louis  Ganne.  Published  by  Enoch  &  Co., 
Paris. 

637 — Program,  admission  card,  pictures  and  printed  reviews  on  the 
Maude  Adams  production  of  Schiller's  "Joan  of  Arc"  in  the 
Harvard  Stadium,  June  22,  1909,  for  the  benefit  of  the  Germanic 
Museum.  Loaned  by  Prof.  Horatio  S.  White,  of  Cambridge, 
Mass. 

84 


JOAN  OF  ARC 

Statue  in  the  Cliniy  Museum  showing  XVth  Century  Armor 


638 — Souvenir  of  the  Shakespeare  Memorial  National  Theatre  Ball, 

in  Royal  Albert  Hall,  London,  Eng.,  June  20,  1911,  in  costume, 
showing  the  Countess  of  Lytton  as  Joan  of  Arc.  Loaned  by 
J.  Sanford  Saltus. 

639 — "The  Century  Magazine"  series  of  1897  containing  "The  Days  of 
Jeanne  d'Arc,"  by  Mary  Hartwell  Catherwood,  illustrated  by 
Boutet  de  Monvel. 

640 — E.  H.  Sothern  and  Julia  Marlowe  in  "Joan  of  Arc,"  as  acted  by 
them  at  the  Waldorf  in  New  York  and  in  London,  season  or 
1906-07.  Loaned  by  Percy  Mackaye. 

641 — Book  Poster  for  Percy  Mackaye's  "Jeanne  d'Arc.  Loaned  by 
Percy  Mackaye  by  request. 

642 — Poster  used  for  the  Maude  Adams  production  of  Joan  of  Arc  at 
the  Harvard  Stadium,  June  22,  1909.  Loaned  by  Charles  Froh- 
man,  Esq. 


PHOTOGRAPHS  OF  JEANNE  D'ARC 

Originals  in  the  collection  of  Mons.  Sarrazin  of  Rouen. 
Loaned  to  the  Joan  of  Arc  Committee. 


643 — The  Three  Companions  in  Heroic  Deeds  of  Joan  of  Arc — 

Poton  de  Zaintrailles,  The  Marquis  of  Rais,  Artus  of  Brittany. 
All  in  grand  heraldic  costumes.  Miniature  taken  from  the 
Armory  Book  of  Gilles  le  Bouvier,  Bibliotheque  Nationale, 
Paris,  French  MSS.  XVth  Century. 

644 — The  Castle  of  Philip  Augustus,  King  of  France,  in  Rouen, 
where  Joan  of  Arc  was  imprisoned.  Part  of  an  antique  plan ; 
beginning  of  the  i6th  Century. 

645 — Reproduction  of  the  Castle  of  Philip  Augustus,  King  of 
France,  in  Rouen,  where  Joan  of  Arc  was  imprisoned.  The 
center  tower  is  still  to  be  seen  in  Rouen. 

646 — Miniature  of  the  i6th  Century,  representing  the  first  author 
(a  woman)  who  wrote  the  first  book  on  the  history  of  Joan 
of  Arc;  it  was  in  verse. 

647 — Cellars  of  the  ancient  Hotel  of  Loiseleur.  These  are  the  first 
floor  of  cellars,  there  being  also  sub-cellars.  Present  dwelling 
of  Mr.  Sarrazin,  Rouen. 

648 — Fragment  of  a  bone  and  a  bunch  of  hair  of  John  of  Lancaster, 
Duke  of  Bedford,  brother  of  King  Henry  V,  Regent  of  France 
and  England  during  the  minority  of  Henry  VI.  Bedford  was 
the  captain  of  the  Castle  of  Rouen,  and  the  inspirer  and  in- 
stigator of  the  trial  of  Joan  of  Arc.  These  bones  and  hair 
were  found  in  his  coffin,  when  the  same  was  opened  for  identi- 
fication, at  the  time  it  was  discovered  in  the  choir  of  the 
Cathedral  of  Rouen,  where  Bedford  had  been  interred  in 
1435.  These  relics  were  put  aside  by  a  priest  named  Colas 
on  the  2Oth  of  October,  1866.  The  miniature  representing  the 
Duke  of  Bedford  is  in  the  prayer  book  of  the  Bedford  family, 
French  MSS.,  I5th  Century,  in  the  British  Museum.  Also 
photograph  of  the  certificate  of  the  curate  of  the  Church  of 
Saint  Maclou  in  Rouen,  referring  to  the  matter. 

86 


649 — Primitive  painting  on  wood,  representing  Joan  of  Arc  before 
her  judges  during*  her  trial.  This  is  part  of  a  panel.  Original 
in  Mons.  Sarrazin's  Collection. 

650— Photograph  of  a  miniature,  representing  the  Battle  of 
Patay,  won  by  Joan  of  Arc,  June  18,  1429.  Original  in  the 
National  Library,  Paris,  French  MSS.  No.  26361. 

651 — Miniature  of  the  isth  Century;  Joan  of  Arc  Before  King 
Charles  VII.  Original  in  Mons.  Sarrazin's  Collection. 

652 — Joan  of  Arc  Before  the  Stake.  Copy  of  the  original  miniature, 
of  the  beginning  of  the  i6th  Century,  formerly  in  the  col- 
lection of  A.  F.  Didot,  now  in  the  collection  of  Mr.  Paloy, 
Rouen.  Copy  of  same  in  the  Sarrazin  Collection,  Rouen. 

653 — Jeanne  d'Arc.  Par  les  Maitres  de  1'Art  Frangais.  Musique  de 
Ch.  Gounol,  Benjamin  Godard,  C.  J.  Franck,  P.  Letorey,  Mail- 
lochaud,  Th.  Sourilas;  Illustrations  Photographiques  d'Apres 
les  Oeuvres  de  Antonin  Mercie,  Fremiet,  Barrias,  Rude,  P. 
Dubois,  Gois,  Chapu,  Marie  d'Orleans,  J.  Roulleau,  Ingres, 
Bastien  Lepage,  J.  E.  Lenepveu,  Joy.  Loaned  by  Dr.  Joseph 
Kossuth  Dixon. 

654 — Illustrated  Manuscript  on  Vellum,  representing  Joan  of  Arc 
on  horse-back  in  armor  with  banner  in  her  right  hand.  To 
the  rear  are  her  followers  riding  abreast.  In  the  background 
is  a  Norman  Castle  with  battlements.  Around  picture  is  illumi- 
nated border.  In  color.  Loaned  by  C.  V.  Miller. 

655 — Jeanne  d'Arc.  Original  manuscript,  written  for  the  Joan  of  Arc 
Exhibition  by  the  author  of  "The  Martyrdom  of  an  Em- 
press." 14  pp.  Original  poem.  By  M.  M. 

,/  656 — Jeanne  d'Arc  (Equestrian  Statue)  ;  Dubois,  Paul.  Gazette  des 
Beaux  Arts  (Salon  de  1889).  Loaned  by  Rodman  Wana- 
maker. 

/  657 — Jeanne  Blessee  a  Orleans.  V.  N.  Original  drawing.  V.  N. 
in  lower  right-hand  corner.  Loaned  by  Rodman  Wanamaker. 

658 — Jeanne  d'Arc.  Delaroche.  Line  engraving  by  Reynolds.  Loaned 
by  Rodman  Wanamaker. 

/  659 — Jeanne  d'Arc  Kneeling  in  Prayer.  N.  V.  Original  drawing1. 
No.  i  marked  in  upper  right-hand  corner;  also  N.  V.  marked 
in  lower  right-hand  corner.  Loaned  by  Rodman  Wanamaker. 

87 


660 — Joan  of  Arc  Surrounded  by  Her  Followers.  (Mounted.)  Has 
banner  in  left  hand  upon  which  is  printed  SPOR.  Line  en- 
graving. Loaned  by  Rodman  Wanamaker. 

661 — Joan  of  Arc.  Goucher,  C.  S.  Line  engraving  (proof  before 
letters).  Loaned  by  Rodman  Wanamaker. 

662 — Vue  Perspective  de  la  Maison  de  Jeanne  d'Arc.  Vue  Interieure 
de  la  Chambre  de  Jeanne  d'Arc.  Dormier.  Two  line  en- 
gravings by  Dormier  on  Domremy.  Loaned  by  Rodman  Wan- 
amaker. 

663— Joan  of  Arc  in  Armor,  holding  banner  in  right  hand.  Ingres. 
Line  engraving  by  Paul  Chenay,  ist  State,  1895-1896.  Loaned 
by  Rodman  Wanamaker. 

664 — Supplice  de  Jeanne  d'Arc,  Brulee  a  Rouen  en  1431.  Depase. 
Line  engraving.  Loaned  by  Rodman  Wanamaker. 

665 — Joan  of  Arc  in  Armor,  holding  banner  in  right  hand.  Ingres. 
Line  engraving  by  Paul  Chenay,  1895-96,  2nd  State.  Loaned 
by  Rodman  Wanamaker. 

666 — Joan  of  Arc  in  Armor,  holding  banner  in  right  hand.  Ingres. 
Line  engraving  by  Paul  Chenay,  1895-96,  3rd  State.  Loaned 
by  Rodman  Wanamaker. 

667 — Jeanne  d'Arc,  Surnommee  la  Pucelle  d'Orleans.  Vouet,  S. 
Line  engraving  by  S.  Vouet.  Loaned  by  Rodman  Wanamaker. 

668 — Jeanne  d'Arc,  La  France  n'a  point  vu  de  coeur  plus  magnanime. 
Mire,  N.  le.  Line  engraving  by  N.  le  Mire.  Loaned  by  Rod- 
man Wanamaker. 

669 — Jeanne  d'Arc.  A  Madame  de  Cypierre.  Mire,  N.  le.,  1774- 
Line  engraving  by  N.  le  Mire.  Loaned  by  Rodman  Wana- 
maker. 

670 — Joan  of  Arc.  Vignon,  C.  Line  engraving  by  A.  Bosse.  Loaned 
by  Rodman  Wanamaker. 

671 — Joan  of  Arc.  Ayant  quitte,  etc.  Deveria,  E.  Line  engraving 
by  Pierre  Adam.  Loaned  by  Rodman  Wanamaker. 

672 — Jeanne  d'Arc.  "Jeanne  montra  sous,"  etc.  Goucher,  C.  S.  Line 
engraving  (another  state). 

88 


JOAN  OF  ARC 

By  Princess  Marie  of  Orleans,  in  the  Versailles  Museum 


673 — Heroisme  de  Jeanne  d'Arc.  Line  engraving.  Loaned  by  Rod- 
man Wanamaker. 

674 — Joan  of  Arc.  Faite  prisonnier.  Deveria,  E.  Line  engraving 
by  Pierre  Adam.  Loaned  by  Rodman  Wanamaker. 

675 — Joan  of  Arc.  Vignon,  C.  Line  engraving  by  A.  Bosse.  Loaned 
by  Rodman  Wanamaker. 

676 — Joan  of  Arc  (Mounted).  Beauchy,  Ch.  Lithograph  by  Ch. 
Beuchy.  Loaned  by  Rodman  Wanamaker. 

677 — Jeanne  d'Arc  dite  La  Pucelle  d'Orleans.  Pueur,  M.  le.  Litho- 
graphed by  Le  Noir.  Loaned  by  Rodman  Wanamaker. 

678 — Bataille  de  Patay  (Jeanne  d'Arc).  Original  drawing.  Loaned 
by  Rodman  Wanamaker. 

679 — Jeanne  d'Arc  being  burned  at  stake.  Slzangles.  Original  draw- 
ing. Loaned  by  Rodman  Wanamaker. 

680 — Jeanne  devant  les  juges.  Original  drawing.  No.  12  marked 
in  upper  right-hand  corner.  Not  signed.  Loaned  by  Rodman 
Wanamaker. 

681 — Complainte  sur  La  Pucelle  d'Orleans.  Guiot,  A.  In  color. 
Loaned  by  Rodman  Wanamaker. 

682 — Joan  of  Arc  at  Stake.  Fragonard.  Lithograph.  Loaned  by 
Rodman  Wanamaker. 

683 — Jeanne  in  Prison.  Original  drawing.  (No  signature.)  Loaned 
by  Rodman  Wanamaker. 

684 — Jeanne  a  Chinon.  Original  drawing.  Loaned  by  Rodman 
Wanamaker. 

685 — Silhouette.    (Joan  of  Arc,  mounted.)    Walle,  Gustav. 

686 — Jeanne  d'Arc.  (Statue.)  Rude.  Half-tone  on  postcard.  Loaned 
by  Mrs.  Dunlop  Hopkins. 

687 — Jeanne  d'Arc  (Portrait)  in  Armor.  Half-tone  on  postcard. 
Heliographie  de  H.  D.  Loaned  by  Mrs.  Dunlop  Hopkins. 

688 — Photograph  of  a  Miniature  representing  the  Battle  of  Patay 
(won  by  Joan  of  Arc  in  1429).  Original  in  National  Library; 
French  Manuscript  No.  20361.  Collection  of  M.  Sarrazin, 
Rouen. 

89 


689 — Painting  (primitive)  on  Wood;  XVIth  Century  (part  of  a 
panel)  ;  representing  Joan  of  Arc  during  her  trial.  The  orig- 
nal  in  the  Collection  of  M.  Sarrazin  in  Rouen.  Photograph. 

690— Cellars  of  the  ancient  Hotel  of  Loiselleur.  First-floor  cellars. 
(There  are  two  depths  of  cellars.)  Dwelling  of  M.  Sarrazin, 
Rouen.  Photograph. 

691 — Fragment  of  a  bone  and  a  bunch  of  hair  of  John  of  Lancaster, 
Duke  of  Bedford,  brother  of  Henry  V.,  Regent  of  France  and 
England  during  the  minority  of  Henry  VI.  John  of  Lancas- 
ter, captain  of  the  Castle  of  Rouen,  was  the  inspirator  of  Joan 
of  Arc's  trial.  Photograph. 

692 — The  three  best  and  faithful  companions  of  Joan  of  Arc — Pon- 
ton de  Xaintrailles,  The  Marquis  of  Rais,  Artus  of  .Brittany— 
in  great  ceremony ;  heraldic  costume.  From  the  Armory  Book 
of  Gilles  le  Bouvier.  National  Library,  French  Manuscripts. 
XVth  Century.  Photograph. 

693 — Reproduction  of  the  Castle  of  Phillippe  Augustus,  where  Joan 
of  Arc  was  kept  prisoner.  The  center  tower  is  at  present  to  be 
seen  at  Rouen.  Collection  of  M.  Sarrazin,  Rouen.  Photo- 
graph. 

694 — The  Castle  of  Phillippe  Augustus  (King  of  France),  where 
Joan  of  Arc  was  prisoner.  Part  of  an  antique  plan.  Begin- 
ning of  the  XVIth  Century.  Collection  of  M.  Sarrazin,  Rouen. 
Photograph. 

695 — Joan  of  Arc  Before  the  Stake.  Miniature  of  the  beginning 
of  the  XVIth  Century.  Ancient  collection  of  A.  F.  Didot, 
now  collection  of  M.  Galoy,  Rouen.  Photograph. 

696— Miniature  of  the  XVIth  Century,  representing  a  woman  of  the 
time,  who  wrote  the  first  verses  on  Joan  of  Arc.  Collection  of 
M.  Sarrazin,  Rouen.  Photograph. 

697 — Miniature  of  the  XVth  Century.  Joan  of  Arc  before  King 
Charles  VII.  Collection  of  M.  Sarrazin,  Rouen.  Photograph. 

698 — Joan  of  Arc.  Cariati,  Giovanni.  Photograph  of  plaquette  by 
Giovanni  Cariati. 

699 — Jeanne  d'Arc  ecoutant  les  Voix.  Allar,  A.  (Statue.)  Post- 
card. Loaned  by  Mrs.  Dunlop  Hopkins. 

90 


700 — Bas-relief  de  la  Statue  de  Jeanne  d'Arc,  "Les  Voix."  Orleans. 
Half-tone  (postcard).  Loaned  by  Mrs.  Dunlop  Hopkins. 

701 — Bas-relief  de  la  Statue  de  Jeanne  d'Arc,  "La  Prison."  Orleans. 
Half-tone  (postcard).  Loaned  by  Mrs.  Dunlop  Hopkins. 

702 — Bas-relief  de  la  Statue  de  Jeanne  d'Arc,  "Jeanne  d'Arc  Prison- 
mere."  Orleans.  Half-tone  (postcard).  Loaned  by  Mrs. 
Dunlop  Hopkins. 

703 — Bas-relief  de  la  Statue  de  Jeanne  d'Arc,  "Jeanne  d'Arc  devant 
Charles  VII."  Orleans.  Half-tone  (postcard).  Loaned  by 
Mrs.  Dunlop  Hopkins. 

704 — Jeanne  d'Arc.  Chatillon,  Mile.  de.  Painted  by  Mile,  de  Chatillon. 
Half-tone.  Loaned  by  Mrs.  Dunlop  Hopkins. 

705 — Bienheureuse  Jeanne  d'Arc,  Patronne  de  la  France,  Sauvez- 
nous.  Statue  (half-tone).  Loaned  by  Mrs.  Dunlop  Hopkins. 

706 — Bienheureuse  Jeanne  d'Arc,  Vierge  et  Martyre,  Priez  pour 
nous.  Half-tone.  Loaned  by  Mrs.  Dunlop  Hopkins. 


STATUES 

IN 

BRONZE,  MARBLE,  WOOD,  PLASTER,  ET  CETERA 


80 1 — Statuette,  representing  peasant  girl  partly  kneeling  and  partly 
sitting  with  hands  clasped  before  her.  (Joan  of  Arc.)  Chapu. 

802 — Joan  of  Arc  in  Chains,  sitting  on  bench  with  legs  crossed,  her 
hands  clasped  in  front  of  right  knee.  She  sits  as  though  in 
thought.  Boucher.  Bronze  statuette. 

803 — Joan  of  Arc  (Statuette)  in  Armor.  Charpentier.  She  holds 
hilt  of  sword  in  right  hand  and  with  left  she  holds  blade. 

804 — Jeanne  d'Arc  (in  full  armor).  Allouarde.  She  stands  with  face 
turned  upwards  in  supplication  and  with  arms  outstretched, 
hands  clasped  and  holding  sword  between  them. 

805 — Joan  of  Arc  (in  armor).  Fremiet.  She  holds  reins  in  left 
hand,  while  in  right  she  holds  a  banner  above  her  head. 
(Bronze  equestrian  statuette.) 

806 — Jeanne  d'Arc  in  full  armor.  Mercie.  Her  hands  clasped  in 
front  of  her  breast.  Her  face  is  turned  upwards  and  around 
her  head  is  a  laurel  wreath.  On  the  ground  at  her  left  side  are 
lying  her  sword  and  helmet. 

807 — Joan  of  Arc  standing,  in  armor,  with  hands  clasped  holding 
sword.  Bouret.  (Statuette.) 

808 — Jeanne  d'Arc.  D'Epinay.  (Equestrian  statuette.)  Hands  to- 
gether as  though  in  prayer.  (In  full  armor.) 

809 — Jeanne  d'Arc.  Fremiet.  (Statuette.)  Kneeling  in  full  armor 
with  clasped  hands  and  head  bowed  in  prayer. 

92 


JOAN  OF  ARC 
Equestrian   Statue  by  Anna  V.   Hyatt 


8io — Joan  of  Arc  in  full  armor,  with  chains  on  her  wrists.     Barrias. 
She  stands  with  clasped  hands.     Bronze  statuette. 

8n — Jehanne,  la  Sainte.     Epinay,  d'.     Statuette  (plaster).     Cathe- 
drale  de  Reims.    Loaned  by  Mrs.  Dunlop  Hopkins. 

812 — Statuette   (Plaster).     Demas,  G.     Loaned  by  Rodman  Wana- 
maker. 

813 — Statuette  (Plaster).    Cascianie,  R.    Loaned  by  Rodman  Wana- 
maker. 

814 — Statuette  (Plaster).  Frere,  Delin.   Loaned  by  Rodman  Wana- 
maker. 

815 — Bas-relief  (in  marble).     Loaned  by  Rodman  Wanamaker. 

816 — Bronze  relief  of  Joan  of  Arc  kneeling  in  prayer.    Tefft,  Carl 
Eugene.    Designed  in  1885  by  C.  E.  Tefft. 

817 — Joan  of  Arc.     Statuette  (plaster)  in  armor.     (No  signature  of 
sculptor.)     Loaned  by  Rodman  Wanamaker. 

818 — Joan  of  Arc.     Arnoult.     Statuette  (plaster).     Loaned  by  Rod- 
man Wanamaker. 

819 — Statuette  in  Wood  of  Joan  of  Arc.    (No  sculptor.)    Loaned  by 
Rodman  Wanamaker. 

820 — Statuette  of  Joan  of  Arc.    Bloomgrove,  England. 


93 


MEDALS 

RELATING  TO  JOAN   OF  ARC   FROM  THE  COLLECTION 
OF  THE  AMERICAN  NUMISMATIC  SOCIETY 


i— Bust  of  Napoleon  facing  right.  NAPOLEON  BONAPARTE 
PREMR.  CONSUL  DE  LA  REP.  F.  Rev.  Statue.  A  JEANNE 
D'ARC.  MONUMENT  RETABLI  A  ORLEANS  L'AN  XI 
DE  LA  REP  QUE.  In  field,  J.  M.  CHAPTAL  MTRE.  DE 
L'INTR.  J.  P.  MARET  PREFET.  A.  E.  CRIGNON  DE- 
SORMEAU  MAIRE.  E.  GOIS  FILS  INV.  DUPRE  SCULP. 
Bronze,  55  mm.  Struck  to  commemorate  the  re-erection  of 
the  statue  at  Orleans  in  1803,  the  original  statue  having  been 
destroyed  during  the  French  revolution. 

2 — Bust  in  armor  to  left.  JEANNE  D'ARC.  Reverse,  Inscrip- 
tion in  eight  lines,  NEE,  A  DONREMY,  EN  M.CCCC.XL, 
MORTE,  EN  M.  CCCC.  XXXI.,  GALERIE  METALLIQUE, 
DES  GRANDS  HOMMES  FRANQAIS,  1823.  By  J.  Domard. 
Gold,  41  mm. 

3 — Same,  Silver. 
4 — Same,  Bronze. 

5 — Half  length,  facing  right,  tied  to  stake,  flames  below,  MA.  MIS- 
SION. ETAIT  DE  DIEV.  Reverse,  full  length,  facing  left, 
sheep  to  left,  angel  above,  bench  and  growing  lilies  in  back- 
ground, city  in  the  distance.  VA  FILLE  AV  GRAND 
COEVR.  By  O.  Roty  (1896).  Silver,  45  mm. 

6 — Same,  Bronze. 
7 — Same,  Gold,  29  mm. 
8 — Same,  Silver. 

9 — Same,  Silver,  23  mm.,  with  ring  for  suspension 
10 — Same,  Gold,  21  mm. 

94 


ii — Same,  Silver. 

12 — Same,  Silver,  15  mm. 

13 — Full  length  facing  left,  trees,  angel  and  sheep  in  background,  by 
Daniel-Dupius.  Galvano  silvered,  plaquette,  63x101  mm. 

14 — Obverse  the  same.  Reverse  branch  of  lilies  and  buds.  In- 
scription in  five  lines  JEANNE  D'ARC  LIBERATRICE 
DU  TERRITOIRE.  Silver,  41x67  mm. 

15 — Same,  Bronze. 

16 — Full  length  facing  left,  in  forest,  two  sheep  to  left,  three  angels 
in  background.  Reverse,  Banner  on  lance,  shield  with  arms, 
palm  leaf,  BEATIFICATION  DE  JEANNE  D'ARC  LE  18 
MAI  1909,  by  Ren6  Baudichon.  Bronze,  51  mm. 

17— Bust  in  armor  to  left.  JEANNE  D'ARC  1412-1431.  Re- 
verse full  length,  kneeling,  facing  right,  receiving  sword  and 
shield  from  two  angels.  By  C.  Yencesse.  Silver,  27  mm., 
with  ring. 

18 — Same,  Bronze. 

19 — Same,  Silver,  22  mm. 

20 — Same,  Bronze. 

21 — Same,  Silver,  18  mm. 

22 — Same,  Bronze. 

23 — Full  length,  kneeling,  full  face,  sheep,  flowers,  tree  and  house  in 
background,  above  on  scroll  JEANNE  D'ARC  ECOVTANT 
SES  VOIX.  Reverse  Arms,  DOMREMY  ORLEANS  ROUEN 
1412-1431.  Bronze,  33  mm.,  with  ring. 

24 — Figure  and  inscription  as  on  No.  23,  above  three  angels  with 
sword,  banner  and  helmet.  Reverse  as  No.  23.  Bronze,  33 
mm.,  with  ring. 

25 — Full  length  in  armor,  banner  in  right  hand,  left  hand  resting  on 
alter,  helmet  and  shield  on  the  ground,  VIVE  LABEUR 
JEHANNE  D'ARC  on  scroll  above.  Reverse  as  No.  23.  Silver, 
33  mm.,  with  ring. 

26 — Same,  Bronze. 

95 


27 — Same,  Silver,  26  mm. 
28 — Same,  Bronze. 
29 — Same,  Silver,  20  mm. 
30 — Same,  Bronze. 

31 — Half  length,  with  hands  clasped,  facing  right,  tree  and  city  in 
background.  Reverse,  armorial  shield,  sword  and  banner. 
By  F.  Rasumny.  Silver,  25  mm.,  with  ring. 

32 — Same,  Bronze. 

33 — Same,  Silver,  21  mm. 

34 — Same,  Bronze. 

35 — Same,  Gold,  19  mm. 

36 — Same,  Silver. 

37 — Same,  Bronze. 

i* 
38 — Same,  Silver,  18  mm. 

39 — Same,  Bronze. 

40— Full  face,  in  armor.  Halo  of  gilt.  IEHANNE  DE  PAR  LEROY 
DV.  CIEL  SAVVE  LA  FRANCE.  Reverse,  full  length  on 
horseback;  above  K.  crowned.  QVANT  IE  FV  FAIT  SANS 
DIFERANCE  AV  PRVDENT  ROI  AMI  DE  DIEV  ON 
OBEISSOIT  PAR  TOVT  EN  FRANCE:  FORS  A  CALAIS 
QVI  EST  FORT  LIEV:  Silver,  28  mm  pierced,  with  ring. 

41 — Same,  23  mm. 
42 — Same,  19  mm. 
43 — Same,  15  mm. 
44 — Same,  n  mm. 
45 — Same,  9  mm. 

46 — Full  length  on  horseback;  to  left,  with  banner,  AVANT  LA 
BATAILLE.  Reverse,  in  eight  lines,  A  LA  GLOIRE  IM- 
PERISSABLE  DE  JEANNE  D'ARC.  LA  VIERGE  HERO- 
IQVE  ET  MARTYRE.  L'ANGE  DE  LA  PATRIE  FRAN- 
QAISE.  Palm  and  lilies  below.  By  F.  Mouchon.  Bronze, 
51  mm. 

96 


JOAN  OF  ARC 
Statue  by   Bourgouin,   Paris 


47 — Full  length  on  horseback  to  left,  with  banner.  Reverse,  Arms. 
Inscription  in  five  lines:  et  fust  "par  la  grant  pitie  qui  estoit 
au  Roiaume  de  France."  By  F.  Fremiet.  Silver,  50  mm. 

48 — Same,  Bronze. 

49 — Same,  Gold,  28  mm.,  with  ring. 

50 — Same,  Silver. 

51 — Same,  Bronze,  without  ring. 

52 — Same,  Silver,  22  mm.,  with  ring. 

53 — Same,  Bronze,  without  ring. 

54 — Same,  Silver,  18  mm.,  without  inscription  on  reverse,  with  ring. 

55 — Same,  Bronze,  without  ring. 

56 — Same,  with  armorial  shield  above  horses  head.  Silver,  36  mm., 
with  ring. 

57 — Same,  Bronze,  without  ring. 

58— Full  length  on  horseback  to  left,  with  banner  BSE  JEANNE 
D'ARC  P.  P.  N.,  below  arms,  1412  to  left,  1431  to  right.  Re- 
verse. Sword,  banner  and  palm  branch,  above,  1412,  1431. 
Silver,  24  mm.  with  ring. 

59 — Same,  Bronze. 

60 — Same,  Silver  20  mm. 

61 — Same,  Bronze. 

62 — Same,  Silver,  18  mm. 

63 — Same,  Bronze. 

64 — Same,  Silver,  16  mm. 

65 — Same,  Bronze. 

66 — Same,  Silver,  14  mm. 

67 — Same,  Bronze. 

68 — Same,  Silver,  12  mm. 

69 — Same,  Reverse,  blank,  10  mm. 

97 


70— Bust  in  armor,  nearly  full  face,  BEATA  JOHANNA  D'ARC. 
Reverse,  Armorial  shield  and  lillies.  By  F.  Vernon.  Silver 
27  mm.  with  ring. 

71 — Same,  23  mm. 
72 — Same,  19  mm. 
73 — Same,  15  mm. 
74 — Same,  n  mm. 
75 — Same,  8  mm. 

76 — Bust  in  armor  and  helmet,  nearly  full  face.  JEHANNE  D'ARC, 
1412-1431.  Reverse,  Aimorial  shield,  sword  and  banner  (same 
as  No.  31).  By  F.  Rasumny.  Silver,  25  mm.  with  ring. 

77 — Same,  Bronze. 

78— Same,  Silver,  21  mm. 

79 — Same,  Bronze. 

80 — Same,  Silver,  19  mm. 

81 — Same,  Bronze. 

82 — Same,  Silver,  16  mm. 

83 — Same,  Bronze. 

84 — Full  length  in  armor,  sword  in  right  hand,  banner  in  left.  JEANNE 
LIBERATRICE  DE  LA  FRANCE.  Reverse  as  last.  By 
F.  Rasumny.  Silver,  25  mm.  with  ring. 

85 — Same,  Bronze. 

86 — Same,  Silver,  21  mm. 

87 — Same,  Bronze. 

88 — Same,  Silver,  19  mm. 

89 — Same,  Bronze. 

90 — Same,  Silver,  16  mm. 

91 — Same,  Bronze. 

92— Laureated  bust  in  armor  to  right,  BIENHEUREUSE  JEANNE 
D'ARC.  Reverse,  Armorial  shield  and  lilies,  DE  PAR  LE 
ROI  DV  CIEL,  above  1412-1431,  below  1909,  by  Emile  Dropsy. 
Gold,  two  colors  on  obverse,  34  mm.  with  ring. 

98 


93 — Same,  Silver. 

94 — Same,  Bronze. 

95 — Same,  Silver,  26  mm. 

96 — Same,  Bronze. 

97 — Same,  Gold,  two  colors  on  obverse,  20  mm. 

98 — Same,  Silver. 

99 — Same,  Bronze. 
100 — Same,  Silver,  16  mm. 
101 — Same,  Bronze. 
1 02 — Same,  Silver,  n  mm. 
103 — Same,  Bronze. 

104— Same  bust,  JEHANNE  D'ARC  VIVE  LABEVR.  Reverse  as 
last,  26mm. 

105— Same  bust,  DE  PAR  LE  ROI  DV  CIEL.  Reverse,  Arms.  Ir- 
regular edge.  Silver,  with  gilt  field  on  obverse,  23  mm.  pierced, 
with  ring. 

106 — Same,  Bronze. 

107 — Same,  Silver,  with  gilt  field  on  obverse,  18  mm. 

108 — Same,  Bronze. 

109 — Same,  Gold,  two  colors  on  obverse,  13  mm. 

no — Same,  Silver,  gilt  field  on  obverse. 

in — Same,  Bronze. 

112 — Bust  in  armor  to  left,  to  right,  arms,  in  each  upper  corner  a  branch 
of  laurel,  below,  et  fust  "  par  la  grant  pitie  qui  estoit  au  Roiaume 
de  France."  By  Emile  Dropsy.  Galvano  plaquette,  silvered 
with  gilt  halo  around  head,  85x110  mm. 

113 — Same,  52x66  mm. 

114— Same,  with  DE  PAR  LE  ROI  DV  CIEL  in  five  lines  to  left  of  bust, 
below  JEANNE  D'ARC.  42x54  mm. 

99 


115 — Same,  bust  to  left,  branch  bearing  leaves  and  a  lily,  to  right  RSE 
JEANNE  D'ARC.  Reverse,  blank.  Silver,  50  mm.  with  ring. 

116 — Same,  Bronze. 

117 — Obverse,  same.  Reverse  same  as  No.  92.  Silver,  34  mm.  with 
ring. 

118 — Same,  Bronze. 

119 — Same,  Silver,  26  mm. 

120 — Same,  Bronze. 

121 — Same,  Silver,  20  mm. 

122 — Same,  Bronze. 

123 — Same,  Silver,  16  mm. 

124 — Same,  Bronze. 

125 — Same,  Silver,  n  mm. 

126 — Same,  Bronze. 

127 — Same,  bust.  JEHANNE  D'ARC.  Reverse  as  last,  but  without 
the  three  dates.  Irregular  edge.  Silver,  with  gilt  field  on 
obverse.  30  mm.  pierced,  with  ring. 

128 — Same,  Bronze, 

129 — Same,  Gold,  two  colors  on  obverse,  23  mm. 
130 — Same,  Silver  with  gilt  field  on  obverse. 
131 — Same,  Bronze. 

132 — Bust  in  armor  to  left,  on  scroll  above,  JEANNE  D'ARC.  Reverse, 
Armorial  shield,  banner  and  branch  of  laurel.  By  Emile  Dropsy. 
Silver,  3 1  mm.  with  ring. 

133 — Same,  Bronze. 
134 — Same,  Gold  26  mm. 
135 — Same,  Silver. 
136 — Same.  Bronze. 
137 — Same,  Silver,  23  mm. 

100 


JOAN   OF  ARC  RECEIVING  ST.   CATHERINE'S   SWORD 


138 — Same,  Bronze. 

139 — Same,  Gold,  20  mm. 

140 — Same,  Silver. 

141 — Same,  Bronze. 

142 — Same,  Silver,  16  mm. 

143 — Same,  Bronze. 

144 — Same,  Silver,  n  mm. 

145 — Same,  Bronze. 

146— Bust  in  armor  to  left.  B.  JEHANNE  D'ARC  P.  P.  N.  Reverse 
Armorial  shield  on  laurel  wreath  JESVS  MARIA  1412-1431- 
Silver,  23  mm.,  with  ring. 

147 — Same,  Bronze. 

148 — Same,  Silver,  21  mm. 

149 — Same,  Bronze. 

150 — Same,  Silver,  19  mm. 

151 — Same,  Bronze. 

152 — Same,  Silver,  15  mm. 

153 — Same,  12  mm. 

154 — Same,  obverse.  Reverse,  sword,  banner  and  palm  branch,  above 
1412-1431.  Silver,  17  mm.,  with  ring. 

155 — Same,  Bronze. 
156 — Same,  15  mm. 
157 — Same,  Silver,  9  mm. 

158 — Bust  in  Court  dress  to  left.  Reverse,  Arms.  Inscription  in  five 
lines:  et  fust  "par  le  grant  pitie  qui  estoit  au  Roiaume  de 
France."  Silver,  32  mm.,  with  ring. 

159 — Same,  Bronze,  without  ring. 
160 — Same,  Silver,  28  mm.,  with  ring. 

101 


161 — Same,  Bronze,  without  ring. 

162 — Same,  Silver,  22  mm.,  with  ring. 

163 — Same,  Bronze,  without  ring. 

164 — Same,  without  inscription  on  reverse,  Silver,  18  mm.,  with  ring. 

165 — Same,  Bronze,  without  ring. 

166 — Same,  Silver,  16  mm.,  with  ring. 

167 — Same,  Bronze,  without  ring. 

168 — Same,  obverse.     Reverse,  Fleur  de  lis.     Silver  13  mm.,  with  ring. 

169 — Same,  Bronze,  without  ring. 

170— Laureated  bust  in  armor  to  left  Bse  JEANNE  D'ARC  P.  P.  N. 
Reverse,  sword,  banner  and  palm  branch,  above  1412-1431. 
Silver,  24  mm.,  with  ring. 

171 — Same,  Bronze. 

172 — Same,  Silver,  21  mm. 

173 — Same,  Bronze. 

174 — Same,  Silver,  18  mm. 

175 — Same,  Bronze. 

176 — Same,  Silver,  16  mm. 

177 — Same,  Bronze. 

178 — Same,  Silver,  14  mm. 

179 — Same,  Bronze. 

180 — Same,  Silver,  12  mm. 

181 — Same,  10  mm. 

182 — Bust  in  armor  to  right.  Fleur  de  lis  on  each  side,  above  JEHAN- 
NE.  Reverse,  arms  and  banner  inscribed  DOMREMY,  1419. 
Bronze,  33  mm. 

183— Bust  in  armor  to  right.  BIENHEUREUSE  JEANNE  D'ARC 
PRIEZ  POUR  NOUS.  Reverse,  Cloud  hiding  sun,  above 
JHESUS  MARIA.  By  F.  Magdelaine.  Silver,  27  mm.,  with 
ring. 

184 — Bust  in  armor  to  right.  Reverse  branch  of  lilies.  Silver,  28  mm., 
with  ring. 

IO2 


185 — Same,  Bronze. 

186 — Same,  Silver,  20  mm. 

187 — Same,  Bronze. 

188 — Same,  Silver,  18  mm. 

189 — Same,  Bronze. 

190 — Same,  Silver,  16  mm. 

191 — Same,  Bronze. 

192 — Laureated  bust  in  armor  to  left,  ornamented  field.  Reverse 
wreath.  By  L.  Tricard.  Gold,  27  mm.,  with  ring. 

193 — Same,  Silver. 
194 — Same,  Bronze. 
195 — Same,  Silver,  20  mm. 
196 — Same,  Bronze. 

197 — Bust  in  armor  and  helmet  to  left  Bse  JEANNE  D  'ARC.  Reverse, 
rose  and  ivy  leaves.  By  Becker.  Silver,  gilt,  28  mm.,  with  ring. 

198 — Obverse  same.  Reverse,  scroll  and  lilies.  Gold,  23  mm.,  with 
ring. 

199 — Same,  Silver  gilt. 
200 — Same,  18  mm. 
201 — Same,  16  mm. 
202 — Same,  13  mm. 
203 — Same,  1 1  mm. 

204 — Bust  as  last.  JEANNE  above.  Reverse  same  as  No.  197. 
Silver  gilt.  Oval  24x28  mm.,  with  ring. 

205 — Obverse  same.  Reverse  same  as  No.  198.  Silver  gilt.  Oval 
20x23  mm.,  with  ring. 

206 — Same,  15x18  mm. 
207 — Same,  14x16  mm. 

208 — Half  length  in  armor,  facing  slightly  to  left.  Banner  in  left  hand, 
Arms  in  field  to  left.  Reverse,  Helmet  and  crossed  swords, 
below  in  two  lines  Bse  JEANNE  D'ARC  1412-1431.  By  F. 
Cain.  Silver,  26  mm.,  with  ring. 

103 


2oo, — Same,  Bronze. 

210 — Same,  Silver,  23  mm. 

2x1 — Same,  Bronze. 

2x2 — Same,  Silver,  20  mm. 

213 — Same,  Bronze. 

214 — Same,  Silver,  18  mm. 

215 — Same,  Bronze. 

216 — Three  quarter  length  in  armor,  facing  slightly  to  right,  banner  in 
right  hand,  left  hand  resting  on  altar.  Reverse,  Palm  branch 
to  left,  sword  to  right,  three  fleur  de  lis  between,  above,  in  two 
lines,  BIENHEUREUSE  JEANNE  D'ARC.  Below  PRIEZ 
POUR  NOUS.  By  Tairac.  Silver.  Irregular  shape,  27x30 
mm.,  with  ring. 

2x7 — Same,  Bronze. 

218 — Same,  Silver,  24x27  mm. 

219 — Same,  Bronze. 

220 — Same,  Silver,  22x24  mm. 

221 — Same,  Bronze. 

222 — Same,  Silver,  19x21  mm. 

223 — Same,  Bronze. 

224 — Same,  Silver,  16x18  mm. 

225 — Same,  Bronze. 

226 — Same,  Silver,  13x15  mm. 

227 — Same,  Bronze. 

228 — Three-quarter  length  in  armor,  facing  slightly  to  left,  in  right  and, 
banner  inscribed  JHESUS  MARIA.  By  Giovanni  Cariati. 
Plaquette,  Galvano,  gilt,  48x72  mm.  (Loaned  by  Signer 
Cariati.) 

228A — Bronze  Medal.  The  Blessed  Joan  *of  Arc  riding  into  Rheims. 
Bloomgrove  Art  League. 

2288 — Medal.  The  Blessed  Joan  of  Arc  in  the  fields  of  Domremy. 
Bloomgrove  Art  League. 

104 


X       o. 

O     2 


S 


COINS 

CHARLES  VI — 1380-1422. 
229 — Gros  Florette,  Silver. 

CHARLES  VI — 1422-1468 
230 — Gros  de  Roi,  Silver. 
231 — Grand  Blanc,  Silver  (two  specimens). 
232 — Blanc,  Silver. 

HENRY  VI  OF  ENGLAND — 1422-1461. 

233 — Salute,   Gold    (two  specimens).     Struck  in  France  during  the 
English  occupation. 

234 — Grot,  Silver.     Struck  at  Calais. 


105 


BIBLIOGRAPHY 

BOOKS  AND  PAMPHLETS 


"Album  Jeanne  d'Arc."  Paper,  copiously  ill'd,  156  pp.  Oeuvre 
des  Orphelins  Apprentis  d'Auteuil;  Paris,  1911. 

"Almanach  national  de  Jeanne  d'Arc.     1891."     Munich. 

"Almanach  national  illustre"  de  Jeanne  d'Arc  la  ve"ne*rable."  Ann.  i 
1 6°.  Lethielleux,  Paris,  1894. 

Antony,  C.  M.  "Blessed  Jeanne  d'Arc,  the  Maid  of  France." 
Cloth,  gilt,  ill'd  in  color,  186  pp.  Benziger  Bros.,  New  York,  1910. 

Arnaud,  Abbe  J.  M.  "Jeanne  d'Arc.  Drame  national  patriotique 
et  religieux  en  5  actes  avec  chants.  Musiquede  Vincent  Fosse."  126  pp., 
12°.  V.  Retaux,  Paris,  1905. 

Arnaud,  Simone.  "Jeanne  d'Arc."  Drame  en  vers.  187  pp.,  8°. 
Ollendorff,  Paris,  1895. 

"Aux  femmes  de  France.  Almanach  de  Jeanne  d'Arc."  104  pp. 
Illus.  8°.  Librairie  de  la  France,  Paris,  1889. 

Ayroles,  Jean  Baptiste  Joseph.  "La  vraie  Jeanne  d'Arc."  2  v.  4°. 
Gaume,  Paris,  1890-4. 

Ayroles,  Jean  Baptiste  Joseph.  "La  pretendu  vie  de  Jeanne  d'Arc 
de  Anatole  France.  Monument  de  cynisme  sectaire."  192  pp.  12°. 
E.  Vitte,  Lyon,  1910. 

Ball,  afterwards  Fitzball,  Edward.  "Joan  of  Arc;  or,  The  Maid  of 
Orleans."  39  pp.  8°.  H.  Davidson,  London,  18 — . 

Ball,  afterwards  Fitzball,  Edward.  "Joan  of  Arc;  or,  The  Maid  of 
Orleans,  a  melodrama."  39  pp.  24°.  J.  Cumberland,  London,  1822. 

Ball,  afterwards  Fitzball,  Edward.  "Joan  of  Arc;  or,  The  Maid  of 
Orleans,  a  melodrama."  21  pp.pl.  8°.  J.  Lowndes,  London,  1822. 

106 


Ball,  afterwards  Fitzball,  Edward.  "Joan  of  Arc;  or  The  Maid  of 
Orleans,  a  melodrama."  In  French's  acting  edition  of  plays,  v.  103. 
Samuel  French,  London,  n.  d. 

Ball,  afterwards  Fitzball,  Edward.  "Joan  of  Arc;  or,  The  Maid  of 
Orleans,  a  melodrama."  39  pp.  nar.  16°.  T.  H.  Lacy,  London,  1822. 

Bangs,  Mary  Rogers.  "Jeanne  d'Arc."  Cloth,  colored  frontis- 
piece, 351  pp.  Houghton,  Mifflin  &  Co.,  New  York,  1910. 

Barnes,  Arthur  Stapylton.  "  Blessed  Joan  the  Maid."  Cloth,  gilt, 
frontispiece,  140  pp.  Benziger  Bros.,  New  York,  1909. 

Baraude,  Henri.  "Orleans  et  Jeanne  d'Arc."  Paper,  plates,  284 
pp.  R.  Roger  &  F.  Chernoviz.,  Paris,  1911. 

Bartlett,  David  W.  "Life  of  Joan  of  Arc,  the  Maid  of  Orleans." 
223  pp.,  pi.  12°.  Millere  Orton,  Auburn  &  Buffalo,  1854. 

Baudot,  Jules.  "Jeanne  d'Arc;  drame  historique  en  cinq  actes  et 
onze  tableaux."  174  pp.  8°.  Picard  Fils  &  Cie.,  Paris,  1909. 

Benson,  Robert  Hugh.  "Maid  of  Orleans."  64  pp.  16°.  Long- 
mans, Green  &  Co.,  London,  1910. 

Belon,  M.  J.,  and  F.  Balme.  "Jean  Brehal,  grande  inquisiteur  de 
France  et  la  rehabilitation  de  Jeanne  d'Arc."  4  v.  in  i.  4°.  P.  Lethiel- 
leux,  Paris,  1893. 

Biottot,  Colonel.  "Les  grands  inspires  devant  la  science.  Jeanne 
d'Arc."  277  pp.  12°.  E.  Flammarion,  Paris,  1907. 

Bissieu,  E.  "Jeanne  d'Arc.  Trage"die  en  cinq  actes  et  en  vers." 
1 60  pp.  12°.  Imp.  S.  Parl,  Barle-Duc,  1905. 

Boucher  de  Molandon,  Rerni  et  Adalbert  de  Beaucorps,  baron. 

"L'arme*e  anglaise  vaincue  par  Jeanne  d'Arc  sur  les  murs  d'Orleans; 
documents  inedits,  et  plan."  314  pp.  plan.  4°.  H.  Herluison, 
Orleans,  1892. 

Bouteiller,  E.  de,  et  G.  de  Braux.  "La  famille  de  Jeanne  d'Arc; 
documents  ine"dits,  ge"nealogie ;  lettres  de  J.  Hordal  et  de  Claude  du  Lys 
a  Charles  du  Lys."  293  pp.  pi.  12°.  A.  Claudin,  Paris,  1878. 

Bouteiller,  E.  de,  et  G.  de  Braux.  "Notes  iconographiques  sur 
Jeanne  d'Arc."  39  pp.  12°.  A.  Claudin,  Paris,  1879. 

Bouteiller,  E.  de,  et  G.  de  Braux.  "Nouvelles  recherches  sur  la 
famille  de  Jeanne  d'Arc;  enqueues  inedites,  gendalogie."  tiz6  pp.  pi. 
12°.  A.  Claudin,  Paris,  1879. 

107 


Brough,  W.  "Joan  of  Arc;  a  new  and  original  historicafburlesque." 
In  Lacy's  acting  edition  of  plays,  v.  86. 

Cagny,  Perceval  de.  "Chroniques  de  P.  de  Cagny,  publie'es  par 
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1 08 


MUG,  BY  RAYMOND  PERRY.    SALMAGUNDI  CLUB,  1912 
Loaned  by  J.   Sanford  Saltus 


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^        ^ 

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Vol.  VIII. 

Play  Bill,  Joan  of  Arc,  a  drama  by  Frances  Aymar  Mathews.  Played 
by  Fanny  Davenport  at  the  Fifth  Avenue  Theatre  for  the  week  beginning 
January  3  1,  1898. 

Loaned  by  Miss  Frances  Aymar  Mathews. 

Boutet  de  Monvel,  Artist.  Original  Manuscript.  "  Panegyric  of 
Joan  of  Arc,"  especially  written  for  the  Joan  of  Arc  Statue  Committee. 
Paris,  France,  January  3,  1913. 

Piece  of  old  printed  chintz,  25x30  inches,  showing  six  scenes  from 
the  life  of  Joan  of  Arc.  (In  gilt  frame.)  Loaned  by  Miss  Frances  A. 
Dallett 


128 


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